From Class to Caste in American Drama: Political and Social Themes Since the 1930sThe American political theatre from the Depression to the present is the subject of this unique new study. Richard Scharine examines issues that shaped the development of the United States during this period, as they were portrayed in selected American plays first produced between 1933 and 1985. Drawing upon fifty years of social, political, and theatrical history, he provides an understanding of the events, ideas, and emotional matrices out of which the plays were born, as well as offering an analysis of human documents that are a reflection of the political events of a time. Along the way, Scharine illustrates how the dramatic representation of American inequalities has evolved in recent decades from the concerns of class to the way class is predetermined by caste. The work begins with an introductory essay that defines political theatre and shows how it varies from standard drama in plot structure, character, theme, and expectations of its audience. The body of the book is then divided into seven historically labelled chapters, each of which provides a history of the period in relation to an evolving principle; a detailed analysis of particular dramas that illustrate that evolution; and a suggestion of other plays in which the evolution can be further studied. The periods that make up the chapters are the Great Depression, World War II, the cold war, Vietnam, and the civil rights movement. The plays of each period are discussed, with particular emphasis placed on their derivation from the assumptions about class and caste of the preceding era. Among the works analyzed are Waiting for Lefty, Watch on the Rhine, The Crucible, The Trial of the Catonsville Nine, In White America, Black Elk Speaks, and As Is. This work will be a valuable reference source for courses in American theatre history, popular culture, and women's and ethnic studies, and a welcome addition to college, university, and public libraries. |
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In a caste theory of culture , one culture is the norm . All others deviate from it .
The advantage of political theatre as a consciousness - raiser is its insistence that
each group has its own norm - different from , but in no way inferior to that of the ...
To begin with , the pivotal Oriental has no say over the culture in which he is to
grow up . Nor is the possibility that he could grow up in a Third World culture
even suggested . He will either be Russian or American . The very few featured ...
religion , and a sickness under medicine , the “ natural ” practices of a cultural
minority are ( or should be ) none of these things . What to the majority culture is a
social issue is to the minority a way of life . In The Love That Dared Not Speak Its
...
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Inhalt
Introduction | 9 |
The Great DepressionSocial Themes in the Theatrical | xxxi |
Prowar to Postwar | 29 |
Urheberrecht | |
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