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Paper 05; Module 33; E Text Paper 05; Module 33; E Text (A) Personal Details Role Name Affiliation Principal Investigator Prof. Tutun University of Hyderabad Mukherjee Paper Coordinator Prof. Niladri University of Kalyani, West Chatterjee Bengal. Content Writer/Author Ms. Sreemoyee Independent Researcher (CW) Banarjee Content Reviewer (CR) Prof. Niladri University of Kalyani, West Chatterjee Bengal. Language Editor (LE) Prof. Sharmila University of Kalyani, West Majumdar Bengal. (B) Description of Module Item Description of module Subject Name English Paper name American Literature Module title Edward Albee: Who’s Afraid of Virginia Woolf Module ID MODULE 33 Who’s Afraid of Virginia Woolf Edward Albee Life and times of Edward Albee: Born in Washington D.C. on March 12, 1928, Edward Albee was adopted by an affluent family from Larchmont, New York. This affluent suburb of New York City was home to a rich, competitive social circle. Albee’s mother was an active socialite. The Albee family was wealthy, and young Edward led a luxurious life. His childhood was accessorized with private tutors, servants, luxury automobiles, winters in warm climates, excursions to the theatre, and riding lessons. But such privilege as a child did not deter him from realising the adverse effects of such a complacent life. In fact, Albee went ahead to criticize through the medium of literature, the moral and spiritual injury inflicted upon people by an excess of material wealth and imprudent pursuit of the “American dream. A young Albee abhorred this culture, finding it hollow and disappointing. At the age of twenty, after years of expensive schooling at prestigious institutions, Albee moved to New York City's Greenwich Village (the place being a retreat for young writers and bohemians looking for artistic freedom and inspiration) to join the league of avant-garde artists. Albee’s search for independence was helped greatly by a trust fund set up for him by his grandmother. His first play, The Zoo Story premiered in New York in 1960 at an off-Broadway theatre and helped him gain instant fame. Albee’s reputation among erudite theatre audience was reached new heights by the virtue of his one-act plays: The Death of Bessie Smith, the Sandbox, and The American Dream. In the 1960’s,commercial American theatre was influenced and largely dominated by playwrights such as Arthur Miller, Tennessee Williams, and William Inge who indulged in projecting the world of the American audience onstage, in a realistic fashion, therefore portraying their drawing rooms in public theatres. The writers reiterated the traditional values of the American society and supported the beliefs of the audience therefore providing an objective view of the world they lived in. These plays sort of established the idea that men and women were themselves responsible for determining their own fate. Yet some playwrights of the time, particularly Europeans like Samuel Beckett, Jean Genet, and Eugene Ionesco, were presenting a different view of the world. The tense political scenario followed by the horrors of the Second World War along with the potential horrors of the nuclear age induced in these writers the urge to believe that the universe is a place where humans have lost control. These playwrights wanted the audience to understand their deep- seated anguish at the absurdity of the human condition. These writers tried to induce the idea that nothing happens, nothing changes, and the effort to find meaning in this world is meaningless itself. The world has become a place devoid of hope and meaning. Critics categorized these Avant-garde writers as Absurdists. Plays of the Theatre of the Absurd, such as Beckett’s Waiting for Godot (1953)) and Ionesco’s The Bald Soprano (1950), are landmarks of this genre. Dialogues are often deliberately confusing and illogical. Speech encompasses jargon, clichés, and even nonsense, in order to indicate that language itself is empty and our attempts to communicate deep feelings are futile. Dramatic and realistic characters are frequently eliminated. The plays are often merely a series of incidents or images that represent the turmoil of the human condition as the author sees it. Also, absurdist plays are often very funny- sometimes insanely so- suggesting that laughter is the only response to the pain of life in a world devoid of hope or purpose.1 Albee employs both realistic and absurdist techniques to write his plays. He is considered as a bridge between these two opposing movements. For example, The Zoo Story tells of an ordinary meeting between two men in a park. Peter is a middleclass businessman, the upholder of traditional American values, complete with wife, children, and pets. Jerry is an outcast and a rebel, who has forgone society for an introspective existence in isolation. The play revolves around Jerry’s longing to communicate with Peter on something more than a superficial level on the failure of which he indulges Peter in murdering him, indicating that only violence or death can establish communication at deeper level. The themes of communication through violence and the hollowness of American values that Albee explores in The Zoo Story connects him with the absurdist’s, as does Jerry’s death, which has been associated with the death of the student in Ionesco’s play The Lesson. These two themes and a death surface again in Who’s Afraid of Virginia Woolf? The Sandbox (1959) and The American Dream (1960) are short plays by Albee that deal with the same three characters: Mommy, (dominating and malicious);Daddy, (complacent and emasculated); and Grandma, (cunning and sharp-tongued). In The Sandbox, Death comes to Grandma on the beach in the form of a handsome young man, while Mommy and Daddy are engaged in an endless squabble. In The American Dream the family is confronted by the identical twin of a child they had once adopted and then destroyed. The title is a parody of the concept of the ideal Nuclear family, a by-product of the American Dream, as the play 1See, Adams, Michael. Edward Albee’s Who’s Afraid Of Virginia Woolf?. London: World Library, Inc.;1993.Web reveals the hidden cruelty, dishonesty, and hatred that the family embodies despite a display of sophistication and perfect happiness. Who’s Afraid of Virginia Woolf? Expatiates the themes-death, sterility, the corruption of the American dream- in a manner similar to Albee’s earlier one-act plays. In some way this full- length play is more realistic than its predecessors. It has a recognizable setting and more commonplace characters. But the absurdist influence is also there too- in the imaginary child that George and Martha have created in the characters’ inability to communicate except through abrasiveness and violence, and in the frequent use of clichéd speech. It is the successful blending of realism and absurdism that has prompted audiences to applaud Albee’s innovations. Albee earned much praise for most of his work, the most famous of which are Who's Afraid of Virginia Woolf, A Delicate Balance, and Three Tall Women. Context of the play: In 1962 the United States was enjoying what many Americans would now consider a “period of innocence”2. President John F. Kennedy was in power. Traditional values appeared unshakable, and life in America was easy and self-satisfied. The importance of a happy family was emphasized by both politicians and popular culture. Many Americans considered success to be measured by having one's own house, car, kids, and dog. It was hard to apprehend that the country would be soon experiencing a massive political and social outrage due to the Vietnam War; the assassinations of President Kennedy, Senator Robert F. Kennedy, and Reverend Martin Luther King, Jr.; and the scandal of Watergate that led to the resignation of President Richard M. Nixon in 1974.Yet, if the surface was tranquil in 1962, there was nonetheless considerable agitation underneath. American relations with the Soviet Union were volatile in the 1960s, leading to confrontation over Berlin and Cuba. The African American community was still struggling against indiscrimination, their attempts often been countered violently by the Whites. As a result of these tempestuous occurrences, a number of influential writers were questioning the American values that so far seemed secure and immaculate. Edward Albee’s Who’s Afraid of Virginia Woolf? premiered at Broadway, New York City, on the 13th of October, 1962. Through this play Albee indulges in critically assessing the aspects that form the very foundation of the American society, its value system and 2See, Adams, Michael. Edward Albee’s Who’s Afraid Of Virginia Woolf?. London: World Library, Inc.;1993.Web institutions, held in high esteem by all Americans. The play focuses on subjects such as family, marriage, and success with the aim to suggest how dysfunctional human beings have become in respect to these. Modern American family, that might appear perfect on the surface has flaws hidden and as their deep dark secrets unveil, our perspective of these institutions shift and we understand how keen people are to escape from them. Edward Albee’s play brings to the forefront an array of controversial questions that had been bothering American life as a whole. Along with its commercial success, the play presented a complete and all-encompassing investigation of sacred American traditions and it did so in a language that many found disturbing. Yet for every person who judged Who’s Afraid of Virginia Woolf? according to their moral standards and concluded that it was indeed perverse and pathetic, there were those who considered the play a masterpiece and hailed Albee as one of the most important dramatists of the contemporary world theatre. Plot Summary: ACT I The play follows a three act structure; the first act is titled “Fun and Games, the second “Walpurgisnacht”, and the third being called “Exorcism”.
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