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\n• An Actor’s Craft: The Art and Technique of Acting (2012)  \n• Theatre in Theory: An Anthology (editor, 2008)  \n• American Drama, 1945–2000: An Introduction (2006)  \n• Staging Philosophy: New Approaches to Theater, Performance, and Philosophy (coeditor with David Saltz, 2006)  \n• A Companion to Twentieth‐Century American Drama (editor, 2005)  \n• A Beautiful Pageant: African American Theatre, Drama, and Performance, 1910–1927 (2002), 2002 Finalist for the Theatre Library Association’s George Freedley Memorial Award  \n• African American Performance and Theater History: A Critical Reader (coeditor with Harry Elam, 2001), Recipient of the 2002 Errol Hill Award from the American Society for Theatre Research (ASTR)  \n• Method Acting Reconsidered: Theory, Practice, Future (editor, 2000)  \n• Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910 (1997), Recipient of the 1998 Errol Hill Award from ASTR  \nSee more descriptions [at www.davidkrasner.com](at www.davidkrasner.com)  \nA History of Modern Drama  \nVolume II 1960–2000  \nDavid Krasner  \nThis edition first published 2016 © 2016 David Krasner  \nRegistered Office  \nJohn Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK  \nEditorial Offices  \n350 Main Street, Malden, MA 02148‐5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK  \nThe Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK  \nFor details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at [www.wiley.com/wiley‐blackwell](www.wiley.com/wiley‐blackwell).  \nThe right of David Krasner to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988.  \nAll rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher.  \nWiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.  \nDesignations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks oftheir respective owners. The publisher is not associated with any product or vendor mentioned in this book.  \nLimit of Liability/Disclaimer of Warranty: While the publisher and David Krasner have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents ofthis book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. It is sold on the understanding that the publisher is not engaged in rendering professional services and neither the publisher northe author shall be liable for damages arising herefrom. If professional advice or other expert assistance is required, the services of a competent professional should be sought.  \nLibrary of Congress Cataloging‐in‐Publication Data applied for 9781405157582 [hardback]  \nA catalogue record for this book is available from the British Library.  \nCover image: A production of Angels in America, 1996, directed by David Krasner, and photo by the designer, Patrick Immel. Thom Miller as Louis, Justin DeGiacimo as Prior.  \nSet in 10.5/13.5pt Galliard by SPi Global, Pondicherry, India  \nFor Emma Bennett  \nContents  \nPreface and Acknowledgments ix  \nPart I: Introduction 1  \nChapter 1 Strangers More than Ever: Modern Drama  \nand Alternative Modernities 3  \nPart II: Unit","cbCaik8RJYOHsWD1","https://ap.wps.com/l/cbCaik8RJYOHsWD1","pdf",3844389,607,"English","# Preface and Acknowledgments\n# Part I: Introduction\n## Chapter 1 Strangers More than Ever: Modern Drama and Alternative Modernities\n# Part II: United Kingdom and Ireland\n## Chapter 2 Jewish Oedipus, Jewish Ethics: Harold Pinter and Postmodern Philosophy\n## Chapter 3 Tom Stoppard and the Limits of Empiricism\n## Chapter 4 Caryl Churchill, Monetarism, and the Feminist Dilemma\n## Chapter 5 “Can’t Buy Me Love”: Socialism, Working Class Sensibilities, and Modern British Drama\n## Chapter 6 Between Past and Present: Brian Friel’s “Symbolic Middle Ground”\n# Part III: United States\n## Chapter 7 “Participate, I suppose”: Edward Albee and the Specter of Death\n## Chapter 8 “Ask a Criminal”: White Postmodern Manhood in David Mamet and Sam Shepard\n## Chapter 9 Modern Drama, Modern Feminism, and Postmodern Motherhood\n## Chapter 10 History, Reinvention, and Dialectics: African American Drama and August Wilson\n## Chapter 11 Tony Kushner’s Angels in America: Postmodern Ethics in the Age of Reagan\n# Part IV: Western and Eastern Europe\n## Chapter 12 Post-War, Cold War, and Post-Cold War: Marxism, Post-Totalitarianism, and European Drama in the Postmodern Era\n## Chapter 13 Eastern Europe, Totalitarianism, and the Wooden Words\n# Part V: Postcolonial Drama\n## Chapter 14 The Fragmentation of the Selfin Postcolonial Drama\n## Chapter 15 Africa: Wole Soyinka, Athol Fugard, and Christina Ama Ata Aidoo\n## Chapter 16 Central and South America: Carlos Fuentes and Derek Walcott\n## Chapter 17 Asia and the Middle East: Yukio Mishima, Gao Xingjian, Girish Karnad, Hanoch Levin, and SaaDallah Wannous\n## Chapter 18 Canada: Ann-Marie MacDonald and Judith Thompson\n# Part VI: Nihilism at the Door\n## Chapter 19 Crisis of Values and Loss of Center in the Plays of Martin McDonagh and Sarah Kane\n## Chapter 20 Blasted, The Lieutenant of Inishmore, and Phaedra’s Love\n## Chapter 21 Pushing More Boundaries: Children and Desire\n# Notes\n# Index","[{\"question\":\"Volume II covers which time span and overall scope of modern drama?\",\"answer\":\"Volume II covers 1960–2000 and provides a structured account of modern drama across multiple regions and thematic concerns, organized into six parts.\"},{\"question\":\"Which playwrights and authors are discussed in the section on the United Kingdom and Ireland?\",\"answer\":\"The United Kingdom and Ireland chapters focus on Harold Pinter, Tom Stoppard, Caryl Churchill, Brian Friel, and include discussion of British drama themes such as working-class sensibilities.\"},{\"question\":\"How is the book organized beyond the introduction?\",\"answer\":\"After Part I, it proceeds through Parts II–VI: United Kingdom and Ireland, the United States, Western and Eastern Europe, postcolonial drama, and nihilism at the door, ending with notes and an index.\"}]","A History of Modern Drama - Volume II - 1960-2000 - Contents | PDF",1789770599,935]