A history of modern drama. 1960-2000 / Volume II :
David Krasner.
- West Sussex : Wiley Blackwell, 2016.
- 1 online resource (560 pages)
Chapter 17: Asia and the Middle East: Yukio Mishima, Gao Xingjian, Girish Karnad, Hanoch Levin, and SaaDallah Wannous.
Title Page; Table of Contents; Preface and Acknowledgments; Acknowledgments; Part I: Introduction; Chapter 1: Strangers More than Ever; The Critical Divide: Defining Modernism and Postmodernism; Constituents of Postmodernism; Marat/Sade; The America Play; Part II: United Kingdom and Ireland; Chapter 2: Jewish Oedipus, Jewish Ethics; Homecoming and the Unheimisch; The Ethics of Betrayal; Chapter 3: Tom Stoppard and the Limits of Empiricism; Tom Stoppard and British Empiricism; What Exactly Is the Experience of Death?; What Exactly Is the Experience of Art and Socialism? The Real Thing: What Really Is Real Love?Arcadia: What Is the Experience of a "Carnal Embrace?"; Chapter 4: Caryl Churchill, Monetarism, and the Feminist Dilemma; Chapter 5: "Can't Buy Me Love"; Edward Bond: Postmodern Violence and Postmodern Calm; Lear; "You can't always get what you want": David Hare and Sold-out Cynicism of Abundance; Men at Work and Play: David Storey and Trevor Griffith; British Nationalism and Colonialism on the Island of Australia; Joe Orton: Finding Winston Churchill's Private Parts; Chapter 6: Between Past and Present; Dancing in the Middle Ground. Part III: United StatesChapter 7: "Participate, I suppose"; Mourning in the Postmodern Age; The Specter of Death in Who's Afraid of Virginia Wolf?; Three Tall Women; Chapter 8: "Ask a Criminal"; Business Is Business: American Buffalo and Glengarry Glen Ross; Finding the Truth in True West and Fool for Love; Academia as a Battleground in Oleanna; Mamet, Shepard, and the "New Man"; Chapter 9: Modern Drama, Modern Feminism, and Postmodern Motherhood; Uncommon Women; The Unforgiving Mirror of 'night, Mother; Stuck in the Mud; How I Learned to Drive. Chapter 10: History, Reinvention, and DialecticsFences; The Piano as Dialectic; Wilson's Motifs; Chapter 11: Tony Kushner's Angels in America; Part IV: Western and Eastern Europe; Chapter 12: Post-War, Cold War, and Post-Cold War; Franz Xaver Kroetz and the Postmodern Breakdown of Language; Heiner Müller and Postmodern Inundation; Dasein in Peter Handke and Botho Strauß; Chapter 13: Eastern Europe, Totalitarianism, and the Wooden Words; Tadeusz Kantor: Theatre of Dematerialization; Dario Fo: Comic Reason and Farceur Extraordinaire; Václav Havel and the Language of Circumlocution. Part V: Postcolonial DramaChapter 14: The Fragmentation of the Self in Postcolonial Drama; Chapter 15: Africa: Wole Soyinka, Athol Fugard, and Christina Ama Ata Aidoo; Memory and Forgetfulness: Wole Soyinka's Death and the King's Horseman; What's in a Name: Athol Fugard's Sizwe Banzi Is Dead; Women's Identity in Aidoo's Anowa; Chapter 16: Central and South America: Carlos Fuentes and Derek Walcott; Memories and Demi-Gods: Carlos Fuentes's Orchards in the Moonlight; Derek Walcott and the Hybridity of Colonialization.