essay on british drama in the twentieth century ignou

MEG 02 BRITISH DRAMA Solved Assignment 2021-22

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MEG 02/TMA 01/ 2021-22

Max. Marks: 100

Answer any five questions.

All questions carry equal marks.

Answer each question in about 350 to 400 words.

Q.1. Write an essay on British Drama in the twentieth Century.

British Drama in the Twentieth Century is often accepted to possess begun in Dublin, Ireland with the establishment of Irish Literary Theater by William B. Yeats, Lady Gregory, and J. M. Synge. Their motivation was to offer an explicitly Celtic and Irish Venue that created works that "stage the more profound feelings of eire ." The dramatists of Irish Literary Theater were essential for the artistic recovery and included: O'Casey , J. M. Synge, W.B. Yeats, Lady George, and Edward Martyn, to offer some examples. In England, the all-around made play sort was being dismissed and supplanted with entertainers and chiefs who were focused on bringing both change and a real crowd to the performance center by engaging the younger , socially cognizant, and therefore the politically ready group. within the plays by George Bernard Shaw, Harley Granville Barker, W. Maugham , and Galsworthy , characters imitated this new group, ridiculed the all around made play characters, and made new generalizations and new norms.

The early twentieth century denoted the split between ‘frocks and frills’ drama and high works, following within the footsteps of the many other European countries. “In Britain, the impact of those continental innovations was delayed by a conservative theatre establishment until the late 1950s and 1960s once they converged with the counter-cultural revolution to rework the character of English theatre. British Drama in the Twentieth Century , The West End , England’s Broadway, tender to supply the musical comedies and well-made plays, while smaller theatres and Irish venues took a replacement direction. The new direction was political, satirical, and rebellious. Common themes within the new early 20th-century drama were political, reflection the unease or rebellion of the workers against the state, philosophical, delving into the who and why of human life and existence, and, They explored common societal business practices, new political ideologies, or the increase of a repressed sector of the population. Industrialization also had an impression on Twentieth-century drama, leading to plays lamenting the alienation of humans in an increasingly mechanical world. Not only did industrialization end in alienation; so did the wars.

Between the wars, two sorts of theater reined. within the West End , the center class attended popular, conservative theater dominated by Coward and G. B. Shaw. “Commercial theater thrived and Darcy Lane large budget musicals by Ivor Novello and Coward used huge sets, extravagant costumes, and enormous casts to make spectacular productions.” British Drama in the Twentieth Century , After the wars, restrictions were broken and new scholars, chefs, and entertainers arose with various perspectives. Evaded naturalism and scrutinized the authenticity of already unassailable convictions. Towards the century's end, the term 'theater of expulsion' came into the due to the amount of plays conjuring the past to travel up against and acknowledge it. The dramatist's towards the century's end consider as a neighborhood of the numbers: Beckett , Herold Pinter, Andrew Lloyd Webber , Brian Friel, Carryall Churchill, and Stoppard . The last demonstration of the century was a rotate towards authenticity even as the establishment of Europe's first kids' way of life.

Realism and Myth

  Freud inspired an interest in myth and dreams as playwrights became conversant in his studies of psychoanalysis. British Drama in the Twentieth Century along side the assistance of Jung , the 2 psychiatrists influenced playwrights to include myths into their plays. This integration allowed for brand spanking new opportunities for playwrights to extend the boundaries of realism within their writing. As playwrights began to use myths in their writing, a "poetic sort of realism" was created. this type of realism deals with truths that are widespread amongst all humans, bolstered by Carl Jung's idea of the collective unconscious.

Poetic Realism

  Much of the poetic realism that was written during the start of the 20 th century forced on the portrayals of Irish peasant life. John Milington Synge, W.B. Yeats, and woman Gregory were but a couple of writers to use poetic realism. Their portrayal of peasant life was often unappealing and lots of audiences reacted cruelly. Many plays that are poetically realistic often have unpleasant theme running through them , like lust between a son and his step-mother or the murder of a baby to "prove" love. These plays used myths as a surrogate for real world so as to permit the audience to measure the unpleasant plot without completely connecting thereto .

  British Drama in the Twentieth Century the feminine characters progressed from the downtrodden, useless women to an empowered, emancipated women. They were wont to pose subversive questions on the social order. Many female characters portrays the author's masculine attitudes about women and their place in society. As time passed, though, females began gain empowerment . British Drama in the Twentieth Century , G. B. Shaw became one among the primary English playwright to follow Ibsen's influence and create roles of real women. Mrs. Warren, major barbara, and Pygmalion all have strong female leads. Women first started voting in 1918. Later within the century, females were both subjected to the alienation of society and routinely weren't given names to suggest to the audience the character's worth within the play...

Q. 2. Discuss the play within the play in A Midsummer Night’s Dream.

Q. 3. To what extent does Hamlet correspond to classical or medieval notions of tragedy?  

Q.4. Can The Alchemist be understood as a satire? Give suitable examples.  

Q.5. Can Eliza in Pygmalion be termed as feminist? Elaborate.

Q.6. Discuss the art of characterisation in The Playboy of the Western World?

Q.7. Discuss Murder in the Cathedral as a poetic drama.

Q.8. Comment on the historical significance of Look Back in Anger.

Q.9. Discuss Waiting for Godot as a reflection of existential themes.

MEG 02 BRITISH DRAMA Solved Assignment 2020-21 , MEG 02 BRITISH DRAMA Solved Assignment - As explained in the Programme Guide, you have to do one Tutor Marked Assignment for each course. We are sending the assignments of all the six courses together in this booklet. Assignment is given 30% weightage in the final assessment. To be eligible to appear in the Term-End Examination, it is compulsory for you to submit the assignments as per the schedule. Before attempting the assignments, you should carefully read the instructions given in the Programme Guide. These assignments are valid for two admission cycles (January 2020 and July 2020). The validity is given below:

Submission: The completed assignment should be sent to the Coordinator of the Study Centre allotted to you by  31st March 2022  (if enrolled in the July 2021 Session) and  30th Sept, 2022  (if enrolled in the January 2022 session).

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British Literature Wiki

Drama in the Twentieth Century

Table of contents.

Twentieth Century British Drama

“ Over time the desire to unsettle, to shock, even to alienate the audience became one hallmark of modern drama .” (Greenblatt 5)

Twentieth Century British theatre is commonly believed to have started in Dublin, Ireland with the foundation of the Irish Literary Theater by William B. Yeats , Lady Gregory, and J.M. Synge . (Greenblatt 1843) Their purpose was to provide a specifically Celtic and Irish venue that produced works that “stage[d] the deeper emotions of Ireland.” (The Abbey’s) The playwrights of the Irish Literary Theater (which later became the Abbey Theater, as it is known today) were part of the literary revival and included: Sean O’Casey , J.M. Synge , W.B. Yeats , Lady Gregory and Edward Martyn, to name a few. In England the well-made play genre was being rejected and replaced with actors and directors who were committed to bringing both reform and a serious audience to the theatre by appealing to the younger, socially conscious and politically alert crowd. In the plays by George Bernard Shaw , Harley Granville Barker, W. Somerset Maugham , and John Galsworthy , characters emulated this new crowd, satirized the well- made play characters, and created new stereotypes and new standards. (Chothia)

The early twentieth century denoted the split between ‘frocks and frills’ drama and serious works, following in the footsteps of many other European countries. “In Britain the impact of these continental innovations was delayed by a conservative theatre establishment until the late 1950s and 1960s when they converged with the counter-cultural revolution to transform the nature of English language theatre.” The West End, England’s Broadway, tended to produce the (Greenblatt 1844) musical comedies and well-made plays, while smaller theatres and Irish venues took a new direction. The new direction was political, satirical, and rebellious. Common themes in the new early 20th century drama were political, reflecting the unease or rebellion of the workers against the state, philosophical, delving into the who and why of human life and existence, and revolutionary, exploring the themes of colonization and loss of territory . They explored common societal business practices (conditions of factories), new political ideologies (socialism), or the rise of a repressed sector of the population (women).(Chothia) Industrialization also had an impact on Twentieth century drama, resulting in plays lamenting the alienation of humans in an increasingly mechanical world. Not only did Industrialization result in alienation; so did the wars. Between the wars, two types of theatre reined. In the West End, the middle class attended popular, conservative theatre dominated by Noël Coward and G.B. Shaw . “Commercial theatre thrived and at Drury Lane large budget musicals by Ivor Novello and Noel Coward used huge sets, extravagant costumes and large casts to create spectacular productions.” (West End) After the wars, taboos were broken and new writers, directors, and actors emerged with different views. Many played with the idea of reality, some were radically political, others shunned naturalism and questioned the legitimacy of previously unassailable beliefs. (Chothia) Towards the end of the century, the term ‘theatre of exorcism’ came into use due to the amount of plays conjuring the past in order to confront and accept it. Playwrights towards the end of the century count among their numbers: Samuel Beckett , Harold Pinter , Andrew Lloyd Webber, Brian Friel , Caryl Churchill , and Tom Stoppard . The last act of the century was a turn back towards realism as well as the founding of Europe’s first children’s cultural center.

For a year-by-year breakdown between 1895 and 1937, please click here .

Realism and Myth

Sigmund Freud inspired an interest in myth and dreams as playwrights became familiar with his studies of psychoanalysis. Along with the help of Carl Jung, the two psychiatrists influenced playwrights to incorporate myths into their plays. This integration allowed for new opportunities for playwrights to increase the boundaries of realism within their writing. As playwrights started to use myths in their writing, a “poetic form of realism” was created. This form of realism deals with truths that are widespread amongst all humans, bolstered by Carl Jung’s idea of the collective unconscious.

Poetic Realism

Much of the poetic realism that was written during the beginning of the twentieth century focused on the portrayals of Irish peasant life. John Millington Synge , W.B. Yeats , and Lady Gregory were but a few writers to use poetic realism. Their portrayal of peasant life was often unappealing and many audiences reacted cruelly. Many plays that are poetically realistic often have unpleasant themes running through them, such as lust between a son and his step-mother or the murder of a baby to “prove” love. These plays used myths as a surrogate for real life in order to allow the audience to live the unpleasant plot without completely connecting to it.

The female characters progressed from the downtrodden, useless woman to an empowered, emancipated woman. They were used to to pose subversive questions about the social order. Many female characters portray the author’s masculine attitudes about women and their place in society. As time passed, though, females began gain empowerment. G.B. Shaw became one of the first English playwrights to follow Ibsen’s influence and create roles of real women. Mrs. Warren, Major Barbara, and Pygmalion all have strong female leads. Women first started voting in 1918. Later in the century, females (and males) were both subjected to the alienation of society and routinely were not given names to suggest to the audience the character’s worth within the play.

Political Theatre and War

Political theatre uses the theatre to represent “how a social or political order uses its power to ‘represent’ others coercively.” It uses live performances and often shows the power of politics through “demeaning and limiting” prejudices. Political theatre often represents many different types of groups that are often stereotyped – “women, gay men, lesbians, ethnic and racial groups, [and] the poor.” Political theatre is used to express one’s political ideas. Agitprop, a popular form of political theatre, even had its roots in the 1930s women’s rights movement. Propaganda played a big role in political theater, whether it be in support of a war or in opposition of political schemes, theater played a big role in influencing the public. The wars also affected the early theatre of the twentieth century. The consternation before WWI produced the Dada movement, the predecessor to Surrealism and Expressionism.

Types of Modern Drama

Realism, in theater, was meant to be a direct observation of human behavior. It began as a way to make theater more useful to society, a way to hold a mirror up to society. Because of this thrust towards the “real” playwrights started using more contemporary settings, backgrounds and characters. Where plays in the past had, for the most part, used mythological or stereotypical characters, now they involved the lower class, the poor, the rich; they involved all genders, classes and races. One of the main contributors to this style was Henrik Ibsen.

Social Realism

Social Realism began showing up in plays during the 1930s. This realism had a political conscience behind it because the world was in a depression. These plays painted a harsh picture of rural poverty. The drama began to aim at showing governments the penalties of unrestrained capitalism and the depressions that lax economies created. One of the main contributors to this style was G.B. Shaw .

Avant Garde Theatre

“Dramatic truth couldn’t be found in the tangibleness of realistic drama, but in symbols, images, legends, myths, fantasies, and dreams” (Klaus)

Absurdist Drama

Absurdist Drama was existentialist theatre which put a direct perception of a mode of being above all abstract considerations. It was also essentially a poetic, lyrical theatre for the expression of intuitions of being through movement, situations and concrete imagery. Language was generally downplayed. (Barnet) Symbolism, Dadaism and their offspring, Surrealism, Theatre of Cruelty, and Expressionism all fall into this category.

Dadaism, or Dada, was a reaction against WWI. Like many of the movements, Dada included writing, painting and poetry as well as theatre. Many Dadaists wrote manifestos detailing their beliefs, which normally outlined their disgust in colonialism and nationalism and tried to be the opposite of the the current aesthetics and values. The more Dada offended, the better. It was considered to be (by Dadaists), the ‘anti-art’. It rejected the values of society and turned everything on its head, preferring to disgust and offend.

Symbolism/Aestheticism

In England, Symbolism was also known as Aestheticism. A very stylized format of drama, wherein dreams and fantasies were common plot devices, Aestheticism was used by numerous playwrights from Yeats to Pinter. The staging was highly stylized, usually using minimal set pieces and vague blocking. While the playwrights who could be considered Aestheticists lived and worked at the beginning of the century, it influenced all of the following styles.

Like Aestheticism, Surrealism has its base in the mystical. It developed the physicality of theatre and downplayed words, hoping to influence its audiences through action. Other common characteristics of surreal plays are unexpected comparisons and surprise. The most famous British playwright in the 20s surrealist style is Samuel Beckett . Theatre of Cruelty is a subset of surrealism and was motivated by an idea of Antonin Artaud. It argues the idea that theatre is a “representational medium” and tried to bring current ideas and experiences to the audience through participation and “ritualistic theater experiments.” Artaud thought that theatre should present and represent equally. This type of theatre relies deeply on metaphors and rarely included a description of how it could be performed.

Expressionism

The term ‘Expressionism’ was first coined in Germany in 1911. (Michaelides) Expressionism also had its hey-day during the 20s although it had two distinct branches. The branches had characters speaking in short, direct sentences or in long, lyrical expanses. This type of theatre usually did not name the characters and spend much time lamenting the present and warning against the future. Spiritual awakenings and episodic structures were also fairly common.

Epic Theatre

Epic theater was created by Bertold Brecht who rejected realistic theatre. He found that such plays were too picture-perfect. Epic Theatre is based on Greek Epic poetry. There are dramatic illusions such as “stark, harsh lighting, blank stages, placards announcing changes of scenes, bands playing music onstage, and long, discomfiting pauses” (Jacobus). Brecht believed that drama should be made within its audiences and he thought that Epic Theatre drama would reinforce the realities that people were facing rather than challenge them. Epic Theatre helped to preserve the social issues that they portrayed.

Physical Advances

To hear Yale University’s Maynard Mack describe some differences between Shakespeare’s Globe Theatre and today’s theatre, click HERE .

Architecture

In the late nineteenth century, early twentieth century, theatre architecture changed from hosting as many audience members as possible without regarding their needs to creating better acoustical, visual, and spatial arrangements for both actors and audience members. Whereas before, theatres were cylindrical shaped, in the twentieth century fan-shaped auditoriums were favored. Audiences liked them because of

the clear sight-lines and favorable acoustics and actors liked them because the natural style of acting that was becoming more popular was conducive to smaller venues. (Klaus)

There was also a renewed interest in the earlier forms of staging such as the thrust and arena stages (theatre-in-the-round). The theatre that most audiences are used to are like the pictured Olivier Theate. Everyone has basically the same view of the stage and the stage itself is viewed through the Proscenium arch, which acts as a picture frame surrounding the stage and framing the play. The Proscenium arch may be anything from a gilded, brightly lit masterpiece surrounding the curtain at the beginning of a show to the simple black walls preventing you from seeing into the wings of the theatre. In a Proscenium theatre, the action takes place either behind the Proscenium or slightly in front of it, on what is known as the apron of a stage. (The piece closest to the audience and which the curtain generally does not hide.) In a thrust theatre, the action takes place almost completely in front of the ‘Proscenium arch’, if indeed there is one. The audience is seated on three sides of the stage and many of these types of theatres make great use of entrances and exits by the hallways through the audience. An arena stage has audience seating on all four sides and has four entrances/exits called vomitoria. (from the Latin ‘vomitorium’ meaning (generally): [an audience] spews forth from them). In today’s American culture, arena stages (and vomitoria) are most commonly found as sports arena.

Found Space is another recycled theatrical convention. The term ‘Found Space’ refers to streets, personal homes, a grocery store, anywhere that is not specifically designated as a theatre.

The set in a theatre is the background upon which the story is told. It can be anything from a very detailed box set (explained below) to absolutely nothing. The set can be physical platforms and walls or it can be projections on sheets.

The box set, or three walls designed to look like the interior of a house, complete with doors, windows and furniture, figured prominently in most, if not all, of the plays performed in the modern realistic tradition at the beginning of the 20th Century. (Klaus)

Before the invention of the electric light bulb in 1879, theatres used either gas or carbon arc lamps. Both gas and carbon arc lamps were

prone to fires. Numerous theatres had switched to the carbon arc lamp during the 1840s, but since the concept of the arc lamp is to send voltage through the open air, there was still a high chance of fire. The Savoy in London was the first public building to operate completely on electricity. In 1882, a year after the Savoy opened, the Munich Exposition displayed an electrified theatre, marking the beginning of a general change-over to electricity-lit theatres. Existing theatres that already had gas lines repurposed them by threading wires through the old gas lines and inserting a row of light bulbs in front of the gas jets.

Unfortunately, electricity had quite a few drawbacks. The set designers or scenographers (combination set designer/costume designer)

did not adapt to the new medium, creating sets that were unsuited to electric light placement. A second drawback was that electricity itself was very dangerous and electricians were hard to find. It might not be as dangerous as gas, but there was still the chance of fire. The front boards, also known as control panels (see above), were live, with handles that could be in an ‘on’ or ‘off’ position. The ‘on’ position did not have protection of any sort, and if the operator was not careful, he or she could die. In the photo to the left, technology had advanced enough for fuses. The third drawback to electricity was that it required a lot of power. Theatres often had to own the generators powering their theatres.

Gordon Craig, a British actor, director,producer, and scenic designer made invaluable contributions to lighting. Instead of putting most of his lights at the foot of the stage (known as footlights or floaters), he hung lighting instruments above the stage. He, along with Adolphe Appia of Switzerland, also realized the dramatic potential of lighting, playing with color and form. Appia also established the first goals of stage lighting in his books: La Mise en scène du drame Wagnérien or The Staging of the Wagnerian Drama and L’Oeuvre d’art vivant (1921) or The Living Work of Art . (Adolphe) (1895)

An American named Jean Rosenthal created the post of ‘lighting designer’ within the theatre world. Before her career in the 1950s, either the master electrician or the set designer would light the play. After her integral designs with the Martha Graham Dance Company and on Broadway, the position of Lighting Designer was added to the production staff. Many designers today credit her with specific lighting techniques and lovingly refer to her as the Mother of Stage Lighting. (Wild)

Advances on the Continent and their Impact on British Drama

Norwegian playwright Henrik Ibsen’s plays were first translated and performed in England in London, 1888. His startling Real-ist drama jumpstarted modern British drama. “His… serious drama based on moral and social issues hung over what has been called ‘the minority theatre [the ‘Off-Broadway of England]’” (Smart). Ibsen and Frenchman André Antoine pioneered the era of naturalistic drama that later snuck into England through writers in the early 20th Century.

In Germany after the Franco-Prussian War, Georg II, Duke of Saxe-Meiningen, became the first modern director. He enjoyed plays so much that he built a stage, hired actors, had scripts written, and (because he financed it) told everyone what they should do. His productions eventually became the Meiningen Ensemble and toured Europe and England extensively, profoundly altering the actor/director, manger/director or writer/director mindset of the past.

In Russia, Constantin Stanislavski organized the ideas of the Duke of Saxe Meiningen and of André Antoine into the Stanislavski Method of acting. Stanislavski brought the Eastern belief in dedication to the trade (some Japanese actors spend 30 years developing their craft (Worthen)) to the Western world. The Stanislavski Method states that the actor’s primary goal is to be believed. It tells the actor that s/he must use his or her own memories to evoke emotions. The Western world accepted this view and used this method to teach it’s actors for many 20th Century realist actors, although towards the 1990s this method has fallen out of vogue.(American, Sawoski)

Antonin Artaud was a contemporary of Samuel Beckett ‘s. He created what is known as the Theatre of Cruelty .

British Playwrights in the Twentieth Century

• J. M. Barrie
• Samuel Beckett
• Caryl Churchill
• Noël Coward
• Brian Friel
• John Galsworthy
• W. Somerset Maugham
• Sean O’Casey
• Harold Pinter
• Peter Shaffer
• George Bernard Shaw
• Tom Stoppard
• John Millington Synge
• William B. Yeats

Back to The Twentieth Century

• The Abbey’s Cultural Role and Value. Abbey Theatre. Web. 15 May 2010.
• “Adolphe Appia.” Encyclopædia Britannica. 2010. Encyclopædia Britannica Online. 17 May. 2010 < http://www.britannica.com/EBchecked/topic/30582/Adolphe-Appia >.
• “American Masters . Constantin Stanislavsky.” PBS. Web. 16 May 2010. < http://www.pbs.org/wnet/americanmasters/database/stanislavsky_c.html >.
• Ballard, James. “The Independent Theatre Movement in Europe and the Influence of Henrik Ibsen.” Diss. Web. 15 May 2010. < http://infiniterooms.co.uk/pdf/dissertationfull.pdf >.
• Barnet, Sylvan, Morton Berman, and William Burto. “New Form in the Theatre.” Types of Drama: Plays and Essays. Boston: Little, Brown, 1981. 776-779. Print.
• Chothia, Jean. “English Drama of the Early Modern Period, 1890-1940.” London: Longman, 1996. Print.
• Greenblatt, Stephen, and M. H. Abrams. “Twentieth Century Drama.” The Norton Anthology of English Literature. New York: W.W. Norton, 2006. 1843-847. Print.
• Jacobus, Lee A. “The Rise of Realism.” The Bedford Introduction to Drama. Boston: Bedford of St. Martin’s, 1993. 801-808. Print.
• Klaus, Carl H., Miriam Gilbert, and Bradford S. Field. “Modern/Contemporary Theatre.” Stages of Drama: Classical to Contemporary Theater. Boston: Bedford/St. Martin’s, 1999. 507+.
• Markus, Tom, and Linda Sarver. Another Opening, Another Show: a Lively Introduction to the Theatre. Boston, Mass.: McGraw-Hill, 2005. Print.
• Michaelides, Chris. “Chronology of the European Avant Garde, 1900 – 1937.” Www.bl.uk/breakingtherules . Dec. 2007. Web. 10 June 2011. < http://www.bl.uk/onlinegallery/features/breakingtherules/images/AvantGardeChronology.pdf >.
• Morash, Chris. “Babel, 1972 — 2000.” A History of Irish Theatre, 1601-2000. Cambridge: Cambridge UP, 2002. 242-71.
• Sawoski, Perviz. “The Stanislavski System Growth and Methodology.” 2nd Ed. Web. 16 May 2010. < https://sites.udel.edu/britlitwiki/files//2018/06/Stanislavski.pdf >.
• Smart, John. “Twentieth Century British Drama.” Jstor. University of Delaware, 2001. Web. 15 May 2010
• “theatre.” Encyclopædia Britannica. 2010. Encyclopædia Britannica Online. 17 May. 2010 < http://www.britannica.com/EBchecked/topic/590239/theatre >.
• Worthen, William B. “Chapter 1-9.” The Wadsworth Anthology of Drama. 5th ed. Boston, Mass.: Thomson/Wadsworth, 2007. 1-100. Print.
• Bandhu, Pun. “What Is ‘avant-garde’ Theater? Styles Of Plays (The Broadway Producer).” Videojug – Get Good At Life. The World’s Best How to Videos plus Free Expert Advice and Tutorials. The Broadway Producer, 2006. Web. 10 June 2011. < http://www.videojug.com/expertanswer/styles-of-plays-2/what-is-avant-garde-theater >.
• “West End Theatre between the Wars – Victoria and Albert Museum.” West End Theatre between the Wars . V&A Home Page – Victoria and Albert Museum. Web. 30 Nov. 2011. < http://www.vam.ac.uk/content/articles/w/west-end-theatre-between-the-wars/ >.
• Wild, Larry. “Jean Rosenthal 1912-1969.” Jean Rosenthal 1912-1969 . Northern State University, 18 Oct. 2011. Web. 30 Nov. 2011. < http://www3.northern.edu/wild/jr.htm >.

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MEG002 British Drama

2020, Spring Season Publications

1. Would you call the character of Dr. Faustus ‘heroic’? Give reasons for your answer. (20) 2. Discuss the play within the play in A Midsummer Night’s Dream. (20) 3. What is the importance of Hamlet’s soliloquies in the play? (20) 4. Can The Alchemist be considered an allegory? Give a reasoned answer. (20) 5. Can Eliza in Pygmalion be termed as feminist? Elaborate. (20) 6. What are the comic strategies used in The Playboy of the Western World? (20) 7. Discuss Murder in the Cathedral as a poetic drama. (20) 8. Comment on the title of Look Back in Anger. (20) 9. Discuss Waiting for Godot from the perspective of the theatre of the Absurd. (20) 1. Discuss the character of Dr Faustus as a tragic figure. 20 2. Identify the characteristics of Shakespearean comedy in A Midsummer Night’s Dream. 20 3. What do you think is the dominant quality of Hamlet’s character? Illustrate. 20 4. Discuss The Alchemist as a satire. 20 5. Comment on the relevance of The Playboy of the Western World to the present time. 20 6. Do you think Pygmalion is a romance? Give reasons for your answer. 20 7. What are the qualities that set Murder in the Cathedral apart from other plays? 20 8. Examine the existentialist elements in Waiting for Godot. 20 9. Discuss the main characters of Look Back in Anger and their relationship with each other. 20 10. Write an essay on British drama in the twentieth century. 20

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Essay on British Drama in the Twentieth Century

Students are often asked to write an essay on British Drama in the Twentieth Century in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on British Drama in the Twentieth Century

Introduction to british drama.

British drama in the twentieth century saw a dynamic shift. It moved from the structured Victorian plays to more realistic and challenging themes, reflecting societal changes.

Early Twentieth Century

The early 1900s was dominated by playwrights like George Bernard Shaw. His works tackled social issues and questioned societal norms, laying the groundwork for modern drama.

The Mid-Century Shift

Mid-century brought the ‘Angry Young Men’ era. Playwrights like John Osborne challenged the status quo with raw, emotional plays.

The Late Twentieth Century

In the late 1900s, British drama became more diverse. Writers like Caryl Churchill explored themes of feminism and politics, broadening the scope of British drama.

250 Words Essay on British Drama in the Twentieth Century

Introduction.

British drama in the twentieth century was marked by a profound shift from the Victorian era’s melodramatic plays to a more realistic, complex exploration of human nature and society.

The early part of the century saw the rise of playwrights like George Bernard Shaw and John Galsworthy, who used their works to critique societal norms and challenge the status quo. Shaw’s plays, such as “Pygmalion,” confronted class and gender issues, while Galsworthy’s “Justice” highlighted the flaws in the British judicial system.

The Mid-Century Transition

Mid-century British drama was dominated by the ‘Angry Young Men’, a group of writers who expressed their disillusionment with the establishment. John Osborne’s “Look Back in Anger” epitomized this movement, portraying the struggles of the working class in post-war Britain.

Postmodern Influence

Towards the end of the century, postmodern influences began to reshape British drama. Tom Stoppard and Harold Pinter emerged as influential figures, experimenting with narrative form and dialogue. Stoppard’s “Rosencrantz and Guildenstern Are Dead” and Pinter’s “The Birthday Party” are examples of their innovative approaches.

In conclusion, twentieth-century British drama mirrored the social and cultural changes of the era. It evolved from the straightforward moral narratives of the past to a more nuanced, introspective examination of human existence, reflecting the complexities of modern life.

500 Words Essay on British Drama in the Twentieth Century

The twentieth century was a period of significant transformation in British drama, marked by a departure from traditional forms and the emergence of new genres and styles. The socio-political changes of the era, coupled with the influence of foreign drama and the advent of modernism, paved the way for a dynamic and diverse dramatic tradition.

Early Twentieth Century: The Edwardian Period

The Edwardian period (1901-1910) was characterized by a reaction against Victorian prudishness. Playwrights like George Bernard Shaw and Harley Granville Barker challenged social norms, addressing issues such as poverty, class, and gender. Shaw’s “Pygmalion” (1912) and Barker’s “The Voysey Inheritance” (1905) exemplify this period’s focus on social critique.

Interwar Period: The Advent of Modernism

The interwar period witnessed the advent of modernism in British drama, with playwrights experimenting with form and content. They were influenced by the continental European avant-garde, including Expressionism and the Theatre of the Absurd. For instance, Samuel Beckett’s “Waiting for Godot” (1953) employed minimalist settings and fragmented dialogue, encapsulating the existential angst of the post-war era.

Post-War Period: The Angry Young Men

The post-war period saw the emergence of the “Angry Young Men,” a group of playwrights who expressed their disillusionment with the establishment. John Osborne’s “Look Back in Anger” (1956) is a seminal work of this period, portraying the frustrations of the lower-middle class. This era also saw the rise of the “kitchen sink” drama, focusing on the domestic and personal lives of working-class characters.

The Late Twentieth Century: In-Yer-Face Theatre

The late twentieth century was marked by the emergence of “In-Yer-Face” theatre, characterized by its explicit, confrontational style. Playwrights like Sarah Kane and Mark Ravenhill explored themes of violence, sexuality, and power, often in a shocking and visceral manner. Kane’s “Blasted” (1995) and Ravenhill’s “Shopping and Fing” (1996) exemplify this raw and provocative style.

The twentieth century was a period of profound change in British drama, reflecting the socio-political transformations of the era. From the social critiques of the Edwardian period to the experimental modernism of the interwar years, the disillusioned realism of the post-war period, and the confrontational style of the late twentieth century, British drama has consistently evolved, offering a rich tapestry of styles and themes. As we move further into the twenty-first century, it is clear that the legacy of twentieth-century British drama continues to shape and influence contemporary theatrical practice.

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Write an essay on British Drama in the twentieth Century

Write an essay on British Drama in the twentieth Century.

Write an essay on British Drama in the twentieth Century, British theatre is generally believed to have started in Dublin, Ireland with the foundation of the Irish Literary Theater by WilliamB. Yeats, Lady Gregory, andJ.M. Synge. (Greenblatt 1843) Their purpose was to give a specifically Celtic and Irish venue that produced workshop that “ stage (d) the deeper feelings of Ireland.” (The Abbey’s) The playwrights of the Irish Literary Theater (which latterly came the Abbey Theater, as it's known moment) were part of the erudite reanimation and included Sean O’Casey,J.M. Synge,W.B. Yeats, Lady Gregory and Edward Martyn, to name a many. In England the well- made play kidney was being rejected and replaced with actors and directors who were committed to bringing both reform and a serious followership to the theatre by appealing to the youngish, socially conscious and politically alert crowd. In the plays by George Bernard Shaw, Harley Granville Barker,W. Somerset Maugham, and John Galsworthy, characters emulated this new crowd, satirized the well- made play characters, and created new conceptions and new norms. (Chothia)

  The early twentieth century denoted the split between‘ frocks and frills’ drama and serious workshop, following in the steps of numerous other European countries. “ In Britain the impact of these international inventions was delayed by a conservative theatre establishment until the late 1950s and 1960s when they gathered with thecounter-cultural revolution to transfigure the nature of English language theatre.” The West End, England’s Broadway, tended to produce the (Greenblatt 1844) musical slapsticks and well- made plays, while lower theatres and Irish venues took a new direction. The new direction was political, sarcastic, and rebellious. Common themes in the new early 20th century drama were political, reflecting the apprehension or rebellion of the workers against the state, philosophical, probing into the who and why of mortal life and actuality, and revolutionary, exploring the themes of colonization and loss of home. They explored common societal business practices ( conditions of manufactories), new political testaments ( illiberalism), or the rise of a repressed sector of the population ( women). (Chothia) Industrialization also had an impact on Twentieth century drama, performing in plays lamenting the disaffection of humans in an decreasingly mechanical world. Not only did Industrialization affect in disaffection; so did the wars. Write an essay on British Drama in the twentieth Century Between the wars, two types of theatre reined. In the West End, the middle class attended popular, conservative theatre dominated by Noël Coward andG.B. Shaw. “ Marketable theatre thrived and at Drury Lane large budget adaptations by Ivor Novello and Noel Coward used huge sets, British Drama in the twentieth Century , extravagant costumes and large casts to produce spectacular products.” (West End) After the wars, taboos were broken and new pens, directors, and actors surfaced with different views. Numerous played with the idea of reality, some were radically political, others escaped verismo and questioned the legality of preliminarily untouchable beliefs. (Chothia) Towards the end of the century, the term‘ theatre of exorcism’ came into use due to the quantum of plays conjuring the history in order to defy and accept it. Playwrights towards the end of the century count among their figures Samuel Beckett, Harold Pinter, Andrew Lloyd Webber, Brian Friel, Caryl Churchill, and Tom Stoppard. The last act of the century was a turn back towards literalism as well as the founding of Europe’s first children’s artistic center.

  Literalism and Myth

  Sigmund Freud inspired an interest in myth and dreams as playwrights came familiar with his studies of psychoanalysis. Along with the help of Carl Jung, the two psychiatrists told playwrights to incorporate myths into their plays. This integration allowed for new openings for playwrights to increase the boundaries of literalism within their jotting. As playwrights started to use myths in their jotting, a “ lyrical form of literalism” was created. This form of literalism deals with trueness that are wide amongst all humans, bolstered by Carl Jung’s idea of the collaborative unconscious.

  Lyrical Literalism

British Drama in the twentieth Century Important of the lyrical literalism that was written during the morning of the twentieth century concentrated on the descriptions of Irish peasant life. John Millington Synge,W.B. Yeats, and Lady Gregory were but a many pens to use lyrical literalism. Their depiction of peasant life was frequently unpleasing and numerous cult replied cruelly. Numerous plays that are poetically realistic frequently have unwelcome themes running through them, similar as lust between a son and his step- mama or the murder of a baby to “ prove” love. These plays used myths as a surrogate for real life in order to allow the followership to live the unwelcome plot without fully connecting to it.

  Women

  The womanish characters progressed from the crushed, useless woman to an empowered, disenthralled woman. They were used to to pose subversive questions about the social order. Numerous womanish characters portray the author’s mannish stations about women and their place in society. Write an essay on British Drama in the twentieth Century As time passed, however, ladies began gain commission.G.B. Shaw came one of the first English playwrights to follow Ibsen’s influence and produce places of real women.Mrs. Warren, Major Barbara, and Pygmalion all have strong womanish leads. Women first started advancing in 1918. Latterly in the century, ladies (and males) were both subordinated to the disaffection of society and routinely weren't given names to suggest to the followership the character’s worth within the play.

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7. Write an essay on British drama in the twentieth century.

by Team Guffo · Published 2022 · Updated 2022

Ans- In these points, British drama in the twentieth century are being described below. Let’s check out all important points. (British Drama)

1. The naturalism had a significant effect on modern dramatic establish, from its orgins in mid-19th century until the present day. it effected the way that production were acted, staged and presented although it was not the only period that effected the way that audiences thought. Barrie never belong to any collage and theatres. The great of his act is marked by creative humour, tender pathos and fantasy. His most original and characteristic theatre is the admirable Crichton.

2. The expressionism is a modernist period in British play that established in Europe in the early decades of the twentieth century and later in the US. it styles part of the broader period of expressionism in the play.

3. The reaction against naturalism and realism were various, some nonrealism theatrical styles gives names from the past, some having names invented for them and some seeming to fit in particular paly.

4. Of the new styles, expressionism and symbolism most typified the modernist reaction against naturalism and realism, having in common that they were assertions or evocations of a reality beyond the ken of positivistic art.

5. The 1950’s through the 1970’s saw the rise of one of the most important period in the modern British play – the kitchen sink drama. These kind of the play and several role that distinguished them as a break from the forms of play before them. They may be equal against play of the absurd characterized by the theatre of authors such as Samuel beckett. 6. Tragicomedy is a literary genre the blends aspects of both comic and tragic forms. Most often seen in British dramatic literature, the term may different describe either a tragic theatre which contains enough comic item to lighten the overall mood or, often a serious theatre with a happy ending.

7. British dramatic language is modelled on real-life conversation among people, and yet, when one watches a theatre, one also has to consider the differences between dram talk and real talk. British dramatic lang is ultimately always constructed or made up and it often serves various use.

8. An important cultural period in the british drama which establish in the late 1950’s and early 1960 was kitchen sink realism, a term coined to described novel, drama, art and other play. The term angry gentlemen was often applied member of this artistic movement. It used a form of social realism which depicts the domestic lives of the career oriental society, to describe social problems and political problems. The drawing room theatre of the post war movement, typical of dramatists like Noel coward ad Terence Rattigan were difficult in the 1950’s by these angry gentlemen, in the theatre like john Osborne’s look back in anger. It is performed in 1956. Nell dunn and Arnold wesker also brought social concerns to the theatre.

9. Another great aspect of the post-war british drama included great changes in the way theatre are performed. These changes are interdependent with the changes in the way theatre are written. The innovations introduced by the theatre require new acting form, new play, the evolution of acting form and new fashion in the management of play also encourage the writing of immovating theatre.

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ASSIGNMENT BRITISH LITERATURE: EARLY TWENTIETH CENTURY BEGC-112 Programme: BAEGH /2022-23 Course Code: BEGC 112 Max. Marks: 100

Answer all questions in this assignment. SECTION A I Explain the following passages with reference to the context. 10×4=40 1. “For, now that it was all over, truce signed, and the dead buried, he had, especially in the evening, these sudden thunder-claps of fear. He could not feel. As he opened the door of the room where the Italian girls sat making hats, he could see them; could hear them; they were rubbing wires among coloured beads in saucers; they were turning buckram shapes this way and that; the table was all strewn with feathers, spangles, silks, ribbons; scissors were rapping on the table; but something failed him; he could not feel. Still, scissors rapping, girls laughing, hats being made protected him; he was assured of safety; he had a refuge.” 2. “But no, he would not give in. Turning sharply, he walked towards the city’s gold phosphorescence. His fists were shut, his mouth set fast. He would not take that direction, to the darkness, to follow her. He walked towards the faintly humming, glowing town, quickly.” 3. “Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.” 4. “Our researchers into Public Opinion are content That he held the proper opinions for the time of year; When there was peace, he was for peace: when there was war, he went. He was married and added five children to the population, 4 Which our Eugenist says was the right number for a parent of his generation. And our teachers report that he never interfered with their education. Was he free? Was he happy? The question is absurd: Had anything been wrong, we should certainly have heard.” SECTION B II. Write short notes on the following: (4×5=20) A. Characteristics of modernism and post-modernism. B. The “Stream of Consciousness Technique” and early twentieth century British fiction. C. Modern British drama of the early twentieth century. D. The major themes and concerns of the novel Mrs. Dalloway. III. Write short essays on the following: (10×2=20) A. “The early years of the twentieth century were significant for the movement for women’s rights.” Discuss how the literary texts that you have studied in this course, reflect the developments in the contemporary movement for women’s rights. B. Explain the title of the poem “I think continually of those who are truly great”. SECTION C IV. Discuss the central theme of the poem “Journey of the Magi” and comment on the symbolism in the poem.

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IGNOU MEG-02 Code Details

• University IGNOU (Indira Gandhi National Open University)
• Title British Drama
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Block 1 - christopher marlowe: doctor faustus.

• Unit 1 - Christopher Marlowe and The Elizabethan Drama
• Unit 2 - The Tragic Drama of Doctor Faustus
• Unit 3 - Irony and The Tragic Dilemma in Doctor Faustus
• Unit 4 - The Renaissance and Reformation in Doctor Faustus
• Unit 5 - Dramatic Poetry in Doctor Faustus
• Unit 6 - The Performance of Doctor Faustus

Block 2 - William Shakespeare: A Midsummer Night's Dream

• Unit 1 - Background: Performance
• Unit 2 - Romantic Comedy and the Language of the Play
• Unit 3 - A Midsummer Night's Dream-I
• Unit 4 - A Midsummer Night's Dream-II
• Unit 5 - The Mechanicals

Block 3 - William Shakespeare: Hamlet

• Unit 1 - Background
• Unit 2 - Interpretations
• Unit 3 - Language of Literature
• Unit 4 - Hamlet: Other Dimensions
• Unit 5 - "The World as Stage": Wider Perspective
• Unit 6 - Current Critical Approaches to Hamlet

Block 4 - Ben Jonson: The Alchemist

• Unit 1 - The Dramatic Career of Ben Jonson
• Unit 2 - Jonsonian Comedy and The Alchemist
• Unit 3 - The Structure of The Alchemist
• Unit 4 - The Alchemist in the Theatre
• Unit 5 - Characterization and Language

Block 5 - The Playboy of the Western World

• Unit 1 - Background to the Playboy
• Unit 2 - Critical Annotations to the Playboy
• Unit 3 - Close Analysis of the Playboy
• Unit 4 - The Playboy: A Discussion
• Unit 5 - The Playboy: A Discussion (Contd.)

Block 6 - Bernard Shaw: Pygmalion

• Unit 1 - Background of English Drama from the Restoration Period to Bernard Shaw
• Unit 2 - Pygmalion: Themes and Issues
• Unit 3 - Dramatic Structure and Mingling of Genres
• Unit 4 - Language and Style

Block 7 - T.S. Eliot: Murder in the Cathedral

• Unit 1 - T.S.Eliot’s Essays and Other Works Related to the Play
• Unit 2 - Background, Production and Performance History
• Unit 3 - Critical Approaches to Play-I
• Unit 4 - Critical Approaches to Play-II
• Unit 5 - General Comments and other Reading

Block 8 - John Osborne: Look in Anger

• Unit 1 - Background to the Play
• Unit 2 - The Characters
• Unit 3 - Language and Speech in Look Back in Anger
• Unit 4 - Critical Approaches in Look Back in Anger
• Unit 5 - Anger and After: The Play’s Subsequent Importance

Block 9 - Samuel Beckett: Waiting for Godot

• Unit 1 - Waiting for Godot: An Avant Garde Play
• Unit 2 - Godot: A Critical Analysis-I
• Unit 3 - Critical Analysis-II
• Unit 4 - Themes and Issues-I
• Unit 5 - Themes and Issues-II

IGNOU MEG-02 (July 2023 - January 2024) Assignment Questions

Ignou meg-02 (july 2022 - january 2023) assignment questions, meg-02 previous years question papers, related codes.

• MEG-01 British Poetry
• MEG-03 British Novel
• MEG-04 Aspects of Language
• MEG-05 Literary Criticism and Theory
• MEG-06 American Literature
• MEG-07 Indian English Literature
• MEG-08 New Literature in English
• MEG-09 Australian Literature in English
• MEG-10 English Studies in India
• MEG-11 American Novel
• MEG-12 A Survey Course In 20th Century Canadian Literature
• MEG-14 Contemporary Indian Literature in English Translation

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IGNOU BEGC-112 Study Guide & Help Book

If you are looking for an ignou study guidebook or help book for begc-112: british literature: the early 20th century you have come to the right place. click on the image or the button below to get highly rated guide books from gyaniversity publications. these books will help you pass your exams and study effectively as they contain the most important questions in your syllabus based on thorough research carried out on previous year question papers. they also mention the probability of each question coming in your exam so you can prioritize effectively. all answers are written in simple language so you can understand and learn quickly. get home delivery in 3-6 days or download the soft-copy instantly.

BEGC-112: British Literature: The Early 20th Century

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Carrie Robbins, Costume Designer for Dozens of Broadway Shows, Dies at 81

She made a classic wig and poodle skirt for “Grease” (using a bath mat and a toilet cover) and turned actors into Spanish inquisitors, British highwaymen and more.

By Alex Traub

Carrie Robbins, a meticulous and resourceful costume designer who worked on more than 30 Broadway shows from the 1960s to the 2000s, died on April 12 in Manhattan. She was 81.

Her death, at a hospital, was confirmed by Daniel Neiden, a friend, who said her health had declined after she fell and broke her hip in December.

In 1972, when she was just 29 years old, Ms. Robbins began “emerging as one of the hottest costume designers in show business,” as the syndicated fashion columnist Patricia Shelton put it, thanks to her work that year on the original Broadway production of “Grease,” six years before it was turned into a hit movie.

Ms. Robbins was given a budget of only $4,000 (the equivalent of about $30,000 today). For the character Frenchy, she dyed a wig bright red using a Magic Marker and fashioned a pink poodle skirt out of her own bath mat and furry toilet seat cover.

The poodle skirt practically became a mandatory feature of “Grease” shows. And when, years later, Ms. Robbins visited a production of “Grease” backstage, she saw a man taking a red Magic Marker to a wig. Baffled, she told him that the wardrobe department surely could afford a high-end custom hairpiece. He replied that only a Magic Marker would be authentic.

In a CUNY TV interview with Ms. Robbins in the mid-2000s, the Newsday theater critic Linda Winer commented, “She defined forever our memories of the ’50s.” She also praised Ms. Robbins for her “creative obsession with detail and period accuracy.”

Critics hailed Ms. Robbins’s costumes over the years for transporting audiences to the Spain of Don Quixote, the underworld of early-18th-century London and the ruined South during the Civil War. For “Grease,” she studied high school yearbooks from the 1950s. For a 1992 musical version of “Anna Karenina,” she found ball gowns from the turn of the 20th century.

“They are underwear-y colors,” Ms. Robbins told The New York Times about the gowns in 1992, “softer, muted, much more alluring than today.”

Describing Ms. Robbins’s work on a 1985 Broadway production of “ The Octette Bridge Club ,” a play by P.J. Barry set in the 1930s, The Reporter Dispatch of White Plains said she seemed “to have raided every thrift shop in town.”

Her devotion to period costume, Ms. Robbins told the journal Theatre Design & Technology in 1987, was not an entirely artistic matter.

The field allowed her to avoid, she said, “the entire city telling me what it should look like.”

Ms. Robbins won four Drama Desk Awards for costume design — for “Grease,” “The Iceman Cometh” (1974), “The Beggar’s Opera” (1972) and “Over Here!” (1974). She was also nominated for Tony Awards for her work on “Grease” and “Over Here!”

Over the course of her career, she made costumes for Meryl Streep, Lauren Bacall and Anthony Hopkins. In 1985, as the staff costume designer for “Saturday Night Live,” she turned Madonna into Marilyn Monroe . She also designed the outfits for the staffs of the Rainbow Room and Windows on the World, the restaurant at the top of the World Trade Center.

Ms. Robbins was also admired as a draftsman. She studied the tricks of master illustrators like Maxfield Parrish, and she would regularly spend eight hours on a single costume sketch. “I believe that drawing is thinking,” she told the online theater journal HowlRound in 2014.

“No one drew a costume more beautifully than Miss Robbins,” said Ann Roth, the revered costume designer .

Carolyn Mae Fishbein was born on Feb. 7, 1943, in Baltimore, where she grew up. Her father, Sidney, taught history in Baltimore public schools, and her mother, Bettye (Berman) Fishbein, had worked as a seamstress before marriage.

When she was 3, her parents, concerned that she was drawing on the walls of her nursery, sent her to a therapist, who told them to enroll her in art classes. As a teenager, she found work singing and tap dancing at a hofbrau in New Haven, Conn.

She studied art and drama at Pennsylvania State University, where she earned a bachelor’s degree in 1964, and she received a Master of Fine Arts degree from the Yale School of Drama in 1967. She married Richard D. Robbins, a surgeon, in 1969.

She taught costume design at New York University from 1972 to 2004; a number of her students went on to win major awards for costume and set design, including Tonys.

In recent years, Ms. Robbins focused on writing plays of her own, including several adapted from short stories her husband had written during his retirement, which was cut short after a few years by his death in 2003.

Ms. Robbins leaves no immediate survivors.

Her biggest thrill in designing costumes, Ms. Robbins told Ms. Shelton, was watching actors transform.

“The guys in ‘Grease’ were no less than a little reluctant to have their hair cut,” she said. “But when we cut it, put them in tapered pants and a jacket with the collar turned up, there they were — swaggering around the stage and flipping grease off their combs.”

Alex Traub works on the Obituaries desk and occasionally reports on New York City for other sections of the paper. More about Alex Traub