scholarly journals Paula Vogel And The Modern American Female Playwrights

2021 ◽  
Vol 0 (44) ◽  
pp. 46-71
Author(s):  
Rasha Abdulmunem Azeez ◽  
Keyword(s):  
Bertolt Brecht ◽  
Tennessee Williams ◽  
August Strindberg ◽  
Pulitzer Prize ◽  
Arthur Miller ◽  
Edward Albee ◽  
Female Writers ◽  
Paula Vogel

Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.

The Evolution of American Dramatic Realism

2019 ◽  
pp. 505-526
Author(s):  
Eileen J. Herrmann
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Tennessee Williams ◽  
Arthur Miller ◽  
American Drama ◽  
August Wilson ◽  
David Mamet ◽  
Sam Shepard ◽  
Rachel Crothers ◽  
Susan Glaspell

Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.

scholarly journals A propósito de quién le teme a Virginia Woolf

2004 ◽  
pp. 75
Author(s):  
Julio Godoy Rojas
Keyword(s):  
Virginia Woolf ◽  
August Strindberg ◽  
Edward Albee

<p><em>¿Quién le teme a Virginia Woolf?, </em>de Edward Albee, es una obra que recoge las resonancias más típicamente contemporáneas del teatro actual. Generalizando, podemos sintetizar las tendencias que privan en el teatro contemporáneo en dos grandes corrientes: el llamado teatro del absurdo y otro, más o menos tradicional, en el que todavía se hace sentir como fuerza rectora el bien o el mal llamado realismo, con aportes del naturalismo y del expresionismo. Me refiero a un teatro de personajes que imitan a las personas, en un mundo reconocible en el que imperan leyes físicas de espacio y tiempo, dentro de una situación dramática que conduce a una resolución. Un teatro que ha desoído a August Strindberg, que en el Prefacio a <em>Ett Driimspel </em>(Obra de sueño, 1906), anunciaba un nuevo teatro en el que "el tiempo y el espacio no existen. Sobre una leve base de realidad, la imaginación hila y trama nuevos modelos hechos de recuerdos, experiencias, fantasías desenfrenadas, cosas absurdas e improvisaciones". Los personajes dejan a un lado la lógica, la historia y la psicología, para adentrarse en el mundo del absurdo.</p><p> </p>

Carnival of Shame: Doctorow and the Rosenbergs

1996 ◽  
Vol 6 (1) ◽  
pp. 63-85
Author(s):  
Robert Detweiler
Keyword(s):  
Traumatic Events ◽  
Pulitzer Prize ◽  
Arthur Miller ◽  
Robert Coover ◽  
The Public ◽  
Book Of Daniel ◽  
The Moment ◽  
Angels In America

“Literature can turn language, for the moment at least, against the sentence of death.”Considering the national and international furor provoked by the sensational early 1950's “atom spy” trial and execution of Julius and Ethel Rosenberg, one may be surprised that these dramatic and traumatic events have not inspired more literary artistry than they have. But a prominent playwright, Arthur Miller, did write The Crucible (produced in 1953) in part as a response to the rabid McCarthyism of that era, and two highly regarded novelists in a later decade composed ambitious novels drawing directly on the Rosenberg affair: E. L. Doctorow in The Book of Daniel (1971) and Robert Coover in The Public Burning (1977). In 1987, Sidney Lumet produced the little noticed film Daniel, based on Doctorow's novel, and still more recently Tony Kushner's Pulitzer Prize-winning play, Angels in America, with Ethel Rosenberg as one of the characters, has been playing on Broadway.

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