Bøger af Robert J. Andreach

Argues that the contemporary American theatre merits appreciation for dramatizing experiences in genres that jostle the audience into thinking about the experiences in new ways, based on five units of analysis: the naturalistic play, modernist theatre, trilogies, tragedy, and comedy.

The Stages of the Spiritual Life in Four Modern Authors - G.M.Hopkins, James Joyce, T.S.Eliot and Hart Crane

This book examines plays by contemporary playwrights and compares them alongside the works of Eugene O'Neill, Arthur Miller, and Tennessee Williams. Andreach argues that tragedy is not only present in contemporary American theatre, but issues from an expectation fundamental to American culture: the pressure on characters to create themselves.

The dramatic trilogy has been flourishing for some time now in new works and revivals of older works by American, British, and European playwrights. This analyses recent American works by Caucasian, African American, Asian American, and Hispanic American men and women.

The book applies playwright John Guare''s statement that, "the war against naturalism," is the history of the American theatre in the Twentieth-Century to selected plays by important contemporary American playwrights. Crucial to the argument is the recognition that a war presupposes two sides with neither side defeating the other, for if naturalistic theatre were to win, all theatre would be linear with characters circumscribed by their heredity and environment. If non-naturalistic theatre were to win, all theatre would be a hodgepodge of incoherent images. After isolating elements of a naturalistic play in its philosophical and mode of production sense, the book examines plays that wage war in language and character. The plays are all of the past few decades: some by Foreman and Wellman are disorienting; some by Albee, Groff, and Maxwell are controversial; others by Eno and Corthron are by playwrights on the verge of major careers; still others by Overmyer and Jenkin are drawing aspiring playwrights to them as models of new, exciting writing for the theatre. All of them, whether colliding genres and styles or destabilizing meaning as in plays by Gibson and Long or reclaiming a mystery as in plays by Ludlam, Greenberg, and Donagy, challenge naturalism''s boundaries. The book not only provides an approach to the contemporary American drama-theatre, but also brings together playwrights not perceived as having any connections other than the fact that they are creating plays today. The text is appropriate for undergraduate students through professors and practitioners.