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Twentieth Century Drama TWENTIETH CENTURY DRAMA M.A. [English] Paper-XII Lalit Narayan Mithila University (Directorate of Distance Education) Directorate of Distance Education Editorial Board Prof. Sardar Arvind Singh, Director, Directorate of Distance Education, Lalit Narayan Mithila University, Darbhanga Prof. B. K. Singh, Ex Dean Humanities, Lalit Narayan Mithila University, Darbhanga Prof. A. K. Bachan, Faculty, University Department of English, Lalit Narayan Mithila University, Darbhanga Dr. Vijay Kumar, Deputy Director, Directorate of Distance Education, Lalit Narayan Mithila University, Darbhanga Dr. Shambhu Prasad, Coordinator, Directorate of Distance Education, Lalit Narayan Mithila University, Darbhanga Authors and Co-ordinator Dr. Shuchi Agarwal, Assistant Professor-III, AIESR, Amity University, Noida (Unit: 1) © Reserved, 2018 Gayatri Kalbag, Freelance Author Units: (2, 4.3, 5.3 ) © Reserved, 2018 Dr. Namrata Chaturvedi, Assistant Professor, Department of English, Zakir Hussain College, University of Delhi Units: (3.3, 5.2) © Reserved, 2018 Joita Dhar Rakshit, Assistant Professor, Acharya Narendra Dev College, University of Delhi Unit: (4.2) © Joita Dhar Rakshit, 2018 Vikas Publishing House Units: (3.0-3.2, 3.4-3.9, 4.0-4.1, 4.4-4.8, 5.0-5.1, 5.4-5.8) © Reserved, 2018 Dr. Shambhu Prasad, Coordinator, Directorate of Distance Education, Lalit Narayan Mithila University, Darbhanga Dr. Shailja, Assistant Coordinator, Faculty of Education, Lalit Narayan Mithila University, Darbhanga © Copyright Reserved Publication or printing of any portion of this book is not permissible without obtaining consent from Directorate of Distance Education, Lalit Narayan Mithila University, Kameshwaranagar, Darbhanga Year of Publication : 2018 For all information relating to distance education, the Directorate of Distance Education, L. N. Mithila University, Kameshwarnagar, Darbhanga (Bihar)-846008 may be contacted. This edition has been published by Vikas Publishing House Private Limited for the Directorate of Distance Education, L. N. Mithila University, Darbhanga. lnmu.ac.in, [email protected] (SLM) SYLLABI-BOOK MAPPING TABLE Twentieth Century Drama Unit I : Background Studies: Drama of Ideas; Revival of the Unit 1: Background Studies Poetic Drama; Problem Play; Theatre of the Absurd; Working (Pages 3-28) Class Drama Unit II : *W.B. Yeats: The Countess Cathleen Unit 2: Yeats and Eliot *T.S. Eliot: The Cocktail Party (Pages 29-59) Unit III : *Bernard Shaw: St. Joan Unit 3: Shaw, Synge and Ibsen *J.M. Synge: The Playboy of the Western World (Pages 61-87) Henrik Ibsen: Ghosts Unit IV : *S. Beckett: Waiting for Godot Unit 4: Beckett and O’Neill *Eugene O’Neill: Mourning Becomes Electra (Pages 89-121) Unit V : Arthur Miller: All My Sons Unit 5: Miller and Soyinka Wole Soyinka: A Dance of the Forests (Pages 123-149) CONTENTS INTRODUCTION 1 UNIT 1 BACKGROUND STUDIES 3-28 1.0 Introduction 1.1 Unit Objectives 1.2 Forms of Drama 1.3 Drama of Ideas 1.4 Revival of the Poetic Drama 1.5 Problem Play 1.6 Theatre of the Absurd 1.7 Working Class Drama 1.8 Summary 1.9 Key Terms 1.10 Answers to ‘Check Your Progress’ 1.11 Questions and Exercises 1.12 Further Reading UNIT 2 YEATS AND ELIOT 29-59 2.0 Introduction 2.1 Unit Objectives 2.2 W. B. Yeats: The Countess Cathleen 2.2.1 Life and Literary Career of W. B. Yeats 2.2.2 Historical Background of The Countess Cathleen 2.2.3 Theme of The Countess Cathleen 2.2.4 Synopsis and Critical Appreciation of The Countess Cathleen 2.2.5 Issues and Analysis 2.3 T. S. Eliot: The Cocktail Party 2.3.1 Life and Literary Career of T. S. Eliot 2.3.2 Historical Background of The Cocktail Party 2.3.3 Synopsis and Theme of The Cocktail Party 2.3.4 Critical Appreciation of The Cocktail Party 2.4 Summary 2.5 Key Terms 2.6 Answers to ‘Check Your Progress’ 2.7 Questions and Exercises 2.8 Further Reading UNIT 3 SHAW, SYNGE AND IBSEN 61-87 3.0 Introduction 3.1 Unit Objectives 3.2 George Bernard Shaw: Saint Joan 3.2.1 About the Author 3.2.2 Plot Summary and Brief Analysis 3.2.3 Key Characters 3.3 J. M. Synge: The Playboy of the Western World 3.3.1 Life of J. M. Synge 3.3.2 Plot and Dramatic Technique 3.3.2 Characters and Themes 3.4 Henrik Ibsen: Ghosts 3.4.1 Characters in Ghosts 3.4.2 Summary and Explanation 3.4.3 Critical Issues in Ghosts 3.4.4 Feminist Reading of Ghosts 3.4.5 Power and Sexuality in Ghosts 3.5 Summary 3.6 Key Terms 3.7 Answers to ‘Check Your Progress’ 3.8 Questions and Exercises 3.9 Further Reading UNIT 4 BECKETT AND O’NEILL 89-121 4.0 Introduction 4.1 Unit Objectives 4.2 Samuel Beckett: Waiting for Godot 4.2.1 Life and Literary Career of Beckett 4.2.2 Central Theme of Waiting for Godot 4.2.3 Use of Language in Waiting for Godot 4.2.4 Dramatic Technique in Waiting for Godot 4.3 Eugene O’Neill: Mourning Becomes Electra 4.3.1 Life and Literary Career of O’Neill 4.3.2 Historical Background of Mourning Becomes Electra 4.3.3 Synopsis and Theme of Mourning Becomes Electra 4.3.4 Critical Appreciation of Mourning Becomes Electra 4.3.5 Issues and Analysis in Mourning Becomes Electra 4.4 Summary 4.5 Key Terms 4.6 Answers to ‘Check Your Progress’ 4.7 Questions and Exercises 4.8 Further Reading UNIT 5 MILLER AND SOYINKA 123-149 5.0 Introduction 5.1 Unit Objectives 5.2 Arthur Miller: All My Sons 5.2.1 Life and Literary Career of Miller 5.2.2 Plot and Dramatic Techniques in All My Sons 5.2.3 Characters in All My Sons 5.2.4 Themes in All My Sons 5.3 Wole Soyinka: A Dance of the Forests 5.3.1 Life and Literary Career of Soyinka 5.3.2 Historical Background of A Dance of the Forests 5.3.3 Synopsis and Theme of A Dance of the Forests 5.3.4 Critical Appreciation of A Dance of the Forests 5.3.5 Issues and Analysis in A Dance of the Forests 5.4 Summary 5.5 Key Terms 5.6 Answers to ‘Check Your Progress’ 5.7 Questions and Exercises 5.8 Further Reading Introduction INTRODUCTION As opposed to the somewhat well-defined contours of Elizabethan drama, the Modern period NOTES was different in its appeal. Considered to have begun in the early twentieth-century, Modern drama owes its genesis to several different forces that changed the ways in which man responded to the unities of time, space and action. Antonin Artaud in an article titled ‘No More Masterpieces’ describes how the classics ought to be kept aside to allow newer theatric preoccupations to flourish. In other words, Oedipus Rex could no longer be considered relevant as a Modern concern. Instead, it was time for the anti-hero—the imperfect angst ridden individual to emerge onstage as the protagonist. Samuel Beckett’s Waiting for Godot is considered to be the seminal existential text of the Modern period; emblematic of a kind of predicament which was peculiar to the Modernists. During the 20th century, especially after the First World War, Western drama became more unified and less the product of separate national literary traditions. Throughout the century realism, naturalism, and symbolism (and various combinations of these) continued to inform important plays. Among the many 20th-century playwrights who have written what can be broadly termed naturalist dramas are Gerhart Hauptmann (German) and John Galsworthy (English), John Millington Synge and Sean O’Casey (Irish), and Eugene O’Neill, Clifford Odets and Lillian Hellman (American). This book describes some of the important literary movements such as the drama of ideas, the revival of the poetic drama, problem play, theatre of the absurd, and working class drama. The theatre of the absurd was a short-lived yet significant theatrical movement, centred in Paris in the 1950s. It also discusses some of the famous dramatists and their plays such as W. B. Yeats, T. S. Eliot, Bernard Shaw, J. M. Synge, Henrik Ibsen, Samuel Beckett, Eugene O’Neill, Arthur Miller, and Wole Soyinka. This book Twentieth Century Drama has been designed keeping in mind the self- instruction mode (SIM) format and follows a simple pattern, wherein each unit of the book begins with the Introduction followed by the Unit Objectives for the topic. The content is then presented in a simple and easy-to-understand manner, and is interspersed with Check Your Progress questions to reinforce the student’s understanding of the topic. A list of Questions and Exercises is also provided at the end of each unit. The Summary and Key Terms further act as useful tools for students and are meant for effective recapitulation of the text. Self-Instructional Material 1 Background Studies UNIT 1 BACKGROUND STUDIES Structure NOTES 1.0 Introduction 1.1 Unit Objectives 1.2 Forms of Drama 1.3 Drama of Ideas 1.4 Revival of the Poetic Drama 1.5 Problem Play 1.6 Theatre of the Absurd 1.7 Working Class Drama 1.8 Summary 1.9 Key Terms 1.10 Answers to ‘Check Your Progress’ 1.11 Questions and Exercises 1.12 Further Reading 1.0 INTRODUCTION Drama is the literary form designed for the theatre, where actors take the roles of characters, perform the indicated action and utter the written dialogue. Although the origins of drama are unclear, its earliest forms began in Greece where they were a part of religious rites and rituals, especially for the Greek god Dionysus.
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