Transcript Drama II Modern Drama

DRAMA II
MODERN DRAMA
Dr Irum Zulfiqar,
Applied Linguist
Assistant Professor and Manager Research Operations (ORIC)
Department of Humanities
Faculty of Social Sciences
LTC Block
Air University
E-9 Islamabad
[email protected]
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

2
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

3
3/27/2017
Course
Orientation
4
DRAMA II- MODERN DRAMA
COURSE ORIENTATION


1.
2.
3.
Drama II builds on the knowledge of students from Drama I, and takes them to the Modern Drama covering the elements
of Realism, Naturalism and the Absurdist in modern
theater.
The plays included in the course represent:
the modern, western, and continental dramatic perspectives in
their true forms and themes
The dominant dramaturgical traditions in the history of
Western drama and performance and modernist experiments
with the constituent elements of plot, characterization,
language, setting, movement, or theme
These aspects are brought out in the plays of Ibsen, Beckett,
O’Casey and Shaw
5
Course Orientation
COURSE DESCRIPTION
This course introduces students to drama as one
of the dominant literary genres in both ancient
and modern worlds.
 Its primary goal is to help students identify
elements of drama as a literary genre and be
acquainted with the history and tradition of
modern drama.
 This course allows students to analyze and
explore intellectual, social and religious issues
relevant to the understanding of modern drama
of its age and the contemporary times.

6
Course Orientation
DESCRIPTION CONTINUES…
The intention is to facilitate the student’s
comprehension of the Twentieth-century theatre
describing a period of great change within the
theatrical culture of the 20th century:
 a widespread challenge to long established rules
surrounding theatrical representation resulting
in the development of many new forms of theatre,
including modernism, Expressionism, political
theatre and other forms of Experimental theatre,
as well as the continuing development of already
established theatrical forms like naturalism and
realism.

Course Orientation
7
COURSE AIMS AND OBJECTIVES


Students should be able to understand the relationship of
theatre to the social, environmental and political realities of
the period known as Modern Drama (1837-1968)
Students should be able to develop
an imaginative sympathy, inquiring mind, and familiarity with the
plays of most important and innovative playwrights of the modern
era.
 a sense of social responsibility, collaborative attitude, artistic
standards and judgment through informed critical analysis.
 a sound sense of the process of dramatic structural development in the
modern period
 respect for the art form and cultivate a foundation for future studies
in theatre (Literature)


Students should be able to get
insight and a developed sensibility, i.e., Responsiveness to pathos. to
artistic and aesthetic values; and have begun cultivation of
imaginative sympathy.
 familiarity with some of the works of the most important innovators of
the modem era.

Course Orientation
8
AUTHORS, TEXTS AND THEMES
Author
Age
Texts/ Plays
Themes and Trends
Henrik Johan Ibsen
20 March 1828 – 23 May 1906)
was a major 19th-century
Norwegian playwright, theatre
director, and poet
A Doll's House
"the father of realism" and the
founders of Modernism in the
theatre
Seán O'Casey
30 March 1880 – 18 September
1964) was an Irish dramatist,
memoirist and a committed
socialist
Juno and the Paycock (1924)
written on the background of
Irish Civil War, Feministic play,
deals with themes of poverty and
religion
Samuel Barclay Beckett
Beckett is widely regarded as
among the most influential
writers of the 20th century.
Strongly influenced by James
Joyce, he is considered one of
the last modernists. As an
inspiration to many later writers,
he is also sometimes considered
one
of
the
first
postmodernists. He is one of
the key writers in what Martin
Esslin called the "Theatre of
the Absurd". His work became
increasingly minimalist in his
later career.
13 April 1906 – 22 December
1989, was an Irish avant-garde
novelist, playwright, theatre
director, and poet
Waiting for Godot (1953)
work offers a bleak, tragicomic
outlook on human nature, often
coupled with black comedy
and gallows humour
George Bernard Shaw
26 July 1856 – 2 November 1950,
was an Irish playwright, an
essayist, novelist and short story
writer
Pygmalion (1912–13)
Issues which engaged Shaw's
attention included education,
marriage, religion, government,
health care, and class privilege
Course Orientation
9
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

10
DRAMA
WHAT IS DRAMA?
Drama is a type of literature that is primarily
written to be performed for an audience.
 When reading a play, it is important to keep
certain features of drama in mind. Some of these
features relate to drama as literature; others
reflect its character as a performance.

12
Drama?
A drama is a story enacted onstage
for a live audience.
13
Drama?
WHAT IS DRAMA?

Origins of Drama
 The word drama comes from
the Greek verb dran, which
means “to do.”

The earliest known plays . . .
were written around the
fifth century B.C.
 produced for festivals to
honor Dionysus, the god
of wine and fertility

14
Drama?
DRAMATIC STRUCTURE
Like the plot of a story, the plot of a play involves
characters who face a problem or conflict.
Complications
tension builds
Exposition
characters and conflict
are introduced
Drama?
Climax
point of highest tension;
action determines how the
conflict will be resolved
Resolution
conflict is resolved;
play ends
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DRAMATIC STRUCTURE
Conflict is a struggle or
clash between opposing
characters or forces. A
conflict may develop . . .



between characters who want
different things or the same
thing
between a character and his or
her circumstances
within a character who is torn
by competing desires
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Drama?
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

17
3/27/2017
Types of Drama
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TYPES OF DRAMA- TRAGEDY
 Tragedy:
A play in which the
main character experiences
disaster, but faces this
downfall in such a way as to
attain heroic stature.*
 Even though Tragedies are
“gloomy” they are triumphant,
because they inspire
exaltation at the greatness
human beings can attain even
in defeat.
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Types of Drama
TRAGEDY
A tragedy is a play that ends unhappily.
• Most classic Greek tragedies deal with serious,
universal themes such as
right and wrong
justice and injustice
life and death
• Tragedies pit human limitations against the larger
forces of destiny.
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Types
Drama?
of Drama
TRAGEDY
The protagonist of most classical tragedies is a tragic
hero. This hero
• is noble and in many ways
admirable
• has a tragic flaw, a
personal failing that leads
to a tragic end
pride
rebelliousness
jealousy
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Types
Drama?
of Drama
C
OMEDY
 Comedy closes with a peaceful
resolution of the main conflict.*


High Comedy: The humor arises
from subtle characterization, social
satire, and sophisticated wit.
Low Comedy: Emphasizes absurd
dialogue, bawdy jokes, visual gags,
and physical humor.*
22
Types
Drama?
of Drama
COMEDY
A comedy is a play that ends happily. The plot usually
centers on a romantic conflict.
boy meets girl
boy loses girl
boy wins girl
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Types
Drama?
of Drama
TYPES OF COMEDY
Romantic Comedy: The main characters are
lovers, and the plot tends to follow the pattern of
“boy gets girl, boy loses girl, boy gets girl again.”
 Satiric Comedy: Uses humor to ridicule foolish
ideas or customs with the purpose of improving
society.


Comedy of Manners: Satirizes the vices and follies of
the upper class.*
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Types
Drama?
of Drama
COMEDY
nobility
townspeople
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The main characters in a comedy could be anyone:
servants
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Types
Drama?
of Drama
COMEDY
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• Comic complications always occur
before the conflict is resolved.
• In most cases, the play ends
with a wedding.
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Types
Drama?
of Drama
ADDITIONAL FORMS OF DRAMA
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Farce: Relies on exaggeration, absurdity, and
slapstick
 Straight Drama or Drama: Deal with serious
subjects, but do not always end in disaster.

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Types
Drama?
of Drama
MODERN DRAMA
• may be tragedy, comedy, or a mixture of the two
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A modern play
• usually focuses on personal issues
• usually is about ordinary people
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Types
Drama?
of Drama
MODERN DRAMA
long flashbacks
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Modern playwrights often experiment with
unconventional plot structures.
music
visual projections of a
character’s private
thoughts
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Types
Drama?
of Drama
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

30
3/27/2017
Elements of
Drama
31
ELEMENTS OF DRAMA
Conflict: Pits a character against
nature or fate, society, or another character
 Internal conflict: Between opposing forces
within a character.
 Protagonist: The central character of the play
and often undergoes radical changes as the
action progresses.*
 Antagonist: The character who opposes the
main character*
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 External
32
Elements of Drama
PROTAGONIST
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Elements of Drama
ANTAGONIST
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Elements of Drama
 Foil:
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A minor character whose traits
contrast sharply with those of the
protagonist
 Dialogue: Conversations between
characters
 Monologue: A long speech spoken by a
single character to himself or herself, or
to the audience
 Soliloquy: A monologue in which a
character speaks his or her private
thoughts aloud and appears to be
unaware of the audience.
35
Elements of Drama

Aside: a short speech or comment delivered by a
character to the audience, but unheard by the other
characters who are present.
3/27/2017
36
Elements of Drama
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

37
3/27/2017
Conventions of
Drama
38
CONVENTIONS OF DRAMA
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Cast of Characters: listed in the beginning of the
play, before the action starts.
 Act: a major division of a play
 Scenes: Major division of an act
 Stage Directions: a dramatist’s instructions for
performing a play.

39
Conventions of Drama
PERFORMANCE OF A PLAY
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When you read a play, remember that it is meant to
be performed for an audience.
Stage Directions
Performance
Playwright describes setting
and characters’ actions and
manner.

Theater artists bring the
playwright’s vision to life
on the stage.
[Wyona is sitting on the couch.
She sees Paul and jumps to her
feet.]
Wyona. [Angrily.] What do
you want?

The audience responds to
the play and shares the
experience.
40
Conventions of Drama
PERFORMANCE OF A PLAY
Theater artists
include

Actors

Directors

Lighting technicians

Stage crew
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
41
Conventions of Drama
SETTING THE STAGE
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Stages can have many different sizes and layouts.
“Thrust” stage
• The stage extends into
the viewing area.
• The audience
surrounds the stage on
three sides.
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Conventions
Drama?
of Drama
SETTING THE STAGE
3/27/2017
“In the round” stage is surrounded by an audience on
all sides.
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Conventions
Drama?
of Drama
SETTING THE STAGE
• The playing area extends behind an opening called a
“proscenium arch.”
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Proscenium stage
• The audience sits on one side looking into the action.
upstage
stage right
stage left
downstage
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Conventions
Drama?
of Drama
SETTING THE STAGE
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Stages in
Shakespeare’s time
were thrust stages.
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Conventions
Drama?
of Drama
SETTING THE STAGE
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Scene design transforms a bare stage into the world of
the play. Scene design consists of
• sets
• lighting
• costumes
• props
46
Conventions
Drama?
of Drama
SETTING THE STAGE
realistic and
detailed
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A stage’s set might be
abstract and
minimal
47
Conventions
Drama?
of Drama
SETTING THE STAGE
3/27/2017
A lighting director skillfully uses light to change the
mood and appearance of the set.
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Conventions
Drama?
of Drama
SETTING THE STAGE
3/27/2017
The costume director works with the director to design
the actors’ costumes.
• Like sets, costumes can be
detailed
minimal
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Conventions
Drama?
of Drama
SETTING THE STAGE
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Props (short for properties) are items that the characters
carry or handle onstage.
• The person in charge of props must make sure that
the right props are available to the actors at the
right moments.
50
Conventions
Drama?
of Drama
THE CHARACTERS
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The characters’ speech may take any of the following
forms.
Dialogue: conversations of characters onstage
Monologue: long speech given by one character to others
Soliloquy: speech by a character alone onstage to himself or herself or
to the audience
Asides: remarks made to the audience or to one character; the other
characters onstage do not hear an aside
51
Conventions
Drama?
of Drama
THE AUDIENCE
experience the performance
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Finally, a play needs an audience to
understand the story
respond to the characters
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Conventions
Drama?
of Drama
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

53
A BRIEF HISTORY OF DRAMA
Major Developments
DRAMA – TO BE, OR NOT TO BE, THAT IS
THE QUESTION
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Drama – a literary composition involving
conflict, action crisis and atmosphere
designed to be acted by players on a stage
before an audience. This definition may be
applied to motion picture drama as well as to the
traditional stage.
 Drama had it’s origin in the country of Greece
around 500 B.C.
 Drama, as a literary genre, is an art form that is
meant to be performed!

55
A Brief History of Drama
DRAMA TIME LINE- HISTORY
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Greek Drama 500-400 B.C.
Medieval: The Middle Ages 1200-1500 AD
Elizabethan & Jacobean 1500-1642
Restoration & 18th Cent. Drama 1660-1800
Romantic Era 1800-1880
Modern Era 1850-Present
A Brief History of Drama
56
GREEK THEATRE


The Greek Theatre or Greek Drama is a theatrical
tradition that flourished in ancient Greece between c. 550
and c. 220 B.C. in Athens.
Athens was the centre of ancient Greek theatre. Tragedy
(late 6th century B.C.), comedy (~486 B.C.) and satyr plays
were some of the theatrical forms to emerge in the world.
Greek theatre and plays have had a lasting impact on
Western drama and culture.
3/27/2017

57
A Brief History of Drama
GREEK THEATRE CONTINUED
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The earliest dramas were designed to worship
gods and goddesses, specifically Bacchus
and Dionysus
 The Greek tragedies of Aeschychus, Sophocles
and Euripides were performed annually at the
spring festival of Dionysus, god of wine and
inspiration.

58
A Brief History of Drama
 In
THE
GREEKS
3/27/2017
534 B.C a contest was
won by Thespis in Athens.
 He is the first recorded winner
of this contest. Tragedy (the
group word “tragoidia” began
with the introduction of an
actor, who played various roles
by changing masks, whose
actions the chorus
commented on in song.
 Thespis according to
Themistius’s account, was
the first “actor” and usually
credited with “inventing”
drama as we know it (actors
speaking lines) –thus actors are
know known as Thespians
59
A Brief History of Drama
DECLINE OF DRAMA
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Drama went into a period of decline around
A.D. 400 (Roman Empire)
 Due to the Power of Christians
 Acting has been deemed at times to be
unchristian, idolatrous and depraved or, worse,
boring.
 Actors themselves have frequently been seen to
be one of the humbler classes, and only towards
the end of the 19th century did their status start
to improve

60
A Brief History of Drama
REVIVAL OF DRAMA
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A. D. 900-1500
 Medieval Drama, when it emerged hundreds of
years later, was a new creation rather than a
rebirth.
 The drama of earlier times having almost no
influence on it. The reason for this creation came
from a quarter that had traditionally opposed
any form of theatre: The Christian church

61
A Brief History of Drama
MEDIEVAL DRAMA
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Purpose: Teach religion
 Types of acceptable drama:
1. )Miracle plays – lives of saints.
2.) Morality plays – being good/ moral
3.) Mystery plays – life of Christ

62
A Brief History of Drama
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A Brief History of Drama
MIDDLE AGES THEATRE
During the Middle Ages, most plays were about
the lives of saints and/or Bible stories.
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
64
A Brief History of Drama
RENAISSANCE DRAMA
Elizabeth I
 Renaissance Drama is English drama
written before the Reformation and the
closure of theatres in 1642. It may also be
called early modern English theatre or
(misaccurately) Elizabethan theatre.
 It includes the drama of William
Shakespeare, the most notable playwright
during this period.
 One distinctive feature of the companies that
put on Elizabethan plays was that they
included only males.
A Brief History of Drama
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 Ruler:
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ELIZABETHAN DRAMA
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Shakespeare
 Christopher Marlowe
 Thomas Kyd
 John Lyly

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A Brief History of Drama
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VICTORIAN/MODERN ENGLISH DRAMA
Wilde
 George Bernard
Shaw
 The Abbey Theatre:
key figures were
W.B. Yeats and Lady
Augusta Gregory;
opened in Dublin in
1903 and helped to
produce new Irish
plays (J.M. Synge)
A Brief History of Drama
3/27/2017
 Oscar
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MODERN DRAMA
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Primary characteristic – realism
 Some of the major forms of drama are:
 Tragedy
 Comedy
 Melodrama


Most importantly, drama, as a literary genre, is an art
form that is meant to be performed.
71
A Brief History of Drama
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

72
DRAMATIC TERMINOLOGY
Literary Terms
Dramatic Terminology
ACTS AND SCENES
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Subdivisions in the play when the time or place
usually changes
 Acts – big breaks (in Shakespeare plays usually 5
Acts)
 Scenes – smaller breaks within acts (usually one
or two per act)

Act III
Act II
Act IV
74
Act I
Dramatic Terminology
Act
ASIDE
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A dramatic device in which a private thought is
spoken aloud. It is intended for the audience
alone – not other characters in the play
 Contributes to dramatic irony –
(the audience knows something
other characters in the play
do not)

75
Dramatic Terminology
COMEDY
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
A type of drama in which the characters experience
reversals of fortune, usually for the better. In comedy,
things work out happily in the end, usually in
marriage.
Comedy Mask
Dramatic Terminology
76
TRAGEDY
A type of drama in which the characters
experience reversals of fortune, usually for the
worse
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
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Tragedy
Dramatic Terminology
DIALOGUE
Conversations among characters
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
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Dramatic Terminology
MONOLOGUE
A speech delivered by one person
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
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Dramatic Terminology
PLAYWRIGHT
The author of a drama
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
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Dramatic Terminology
PROPS
Articles or objects that appear on stage during a
play
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
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Dramatic Terminology
SCRIPT
The written version of the play
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
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Dramatic Terminology
STAGING
The effect the play has on its audience –
including the position of actors, the scenic
background, the props and costumes, and the
lighting and sound effects
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
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Dramatic Terminology
SUBPLOT
An additional or minor or parallel plot in a play
or story that coexists with the main plot
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
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Dramatic Terminology
THESPIANS
Actors and actresses
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
85
Dramatic Terminology
LECTURE 1
SYNOPSIS
3/27/2017
Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

86
3/27/2017
Introduction to
Modern Drama
87
FROM CLASSIC
TO MODERN
DRAMA
to explore the way in which tragedy evolved into
the 20th century (AO4)

Classical drama – usually refers to literature written in
ancient Greece or Rome
Epic drama – refers to literature which has a grand or
ambitions theme (Shakespeare and Marlow are part of the
Early Modern Tragedy category and wrote epic dramas)
Domestic drama – refers to drama set in a household (it does
not have a grand or ambitions theme)
how modern Drama is different from
Classical Drama
THE ‘NEW’ TRAGIC HERO



Greece: Aristotle’s protagonist (330 BC) = a man of high rank, power or
fortune. They can be noble (of noble birth) or show wisdom (by virtue of
their birth).
Rome: Seneca (45? AD) = continued the Greek tradition of tragedy
(particularly the unities and the noble protagonist), but with far more
spectacle and gore. Theatre became more for entertainment than for
civic/religious ‘lessons’.
England: Christopher Marlow (1588-9) writes The Tragical History of Dr.
Faustus – he sells his soul to the devil for infinite power (tragic flaw =
ambition).
 Not of noble birth, but has wisdom and academic abilities (hence, the
DR.)
 Despite several divine interventions, Faustus makes a pact with
Lucifer (he is blind to his own salvation by ambition) and eventually
is dragged to his place in hell (big time punishment!)
 Dr. Faustus fits into a new type of tragic hero who is both a hero and
a villain = anti-hero who embraces disorder by their actions, which
are usually motivated by greed, jealousy, lust and ambition (enter the
seven deadly sins…!). Such characters follow ‘nature’ too readily and
tend to ignore ‘civilised’ behaviour.
…one move away from order can lead to tragedy!
how modern Drama is different from
Classical Drama
USING THE TYPE OF BEHAVIOUR DESCRIBED ON YOUR PIECE OF PAPER – WHICH SIDE DO
YOU THINK YOU ARE ON, ORDER OR DISORDER?
Order
Disorder
Orthodox behaviour
Unorthodox behaviour
Goodness
Evil
Aware of self
Self-conceited
Peaceful actions
Violent actions
Ignoring temptation
Following temptation
Tradition
Subvert tradition
Live within one’s means
Greed and ambition
Natural passion controlled
Natural passion unrestricted
Not coveting others
Jealousy
Seven deadly sins avoided
Seven deadly sins embraced
Accepting God’s order
Rebelling against God’s order
Christian
Pagan
Grace and mercy
Despair and judgement
Repetance
Damnation
 Part
of the reason for writing tragedies,
therefore, is to offer the audience a sense
of what value systems are important to
us as human beings, and which systems
we should try to prevent from taking
hold.
 Tragedy can educate and help society to
change… if the audiences want to…
 Unfortunately, tragedy in mid-19th
century became ‘watered down’ and only
used to serve as spectacle; audiences
wanted to be entertained and have the
social order of their world reinforced and
maintained.
how modern Drama is different from
Classical Drama
MODERN EUROPEAN TRAGEDY: THE LATE 19TH
CENTURY
 Konstantin
Stanislavski created a ‘system’
which changed the face of acting forever.
Rather than just ‘demonstrating’ on stage,
actors were to explore the character inside
and out so that their acting, as well as the
drama, was more realistic on stage.
 Naturalism = theatre which aims to
depict human action and emotion in a
‘realistic’ way
 Fourth wall = an imaginary wall which
divides the stage from the audience in a
box set (a realistic three-dimentional set
with the 4th wall cut out)
how modern Drama is different from
Classical Drama







Henrik Ibsen, August Strindburg (Scandinavia) and Anton
Checkov (Russia) began to write more realistic tragedies in which
real lives are depicted and would typically deal with taboo
subjects –
sexual disease,
infidelity,
female liberation,
social injustice,
the breakdown of the family.
Although there would still be a resolution (like in a Greek
tragedy), there would be no grand speech, major battle or brave
sacrifice;
these plays ended simply with either a small act of defiance, a
quiet definite act, or (breaking completely from Aristotle’s rules)
sometimes the characters just had to simply go on.
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
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how modern Drama is different from
Classical Drama
how modern Drama is different from
Classical Drama
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Plays were met with hostility; bringing
the difficulties and pain of tragedy into
the normal, social sphere was radical in
the extreme
Audiences were not used to watching
dilemmas they might face performed
without the certainty of a positive
outcome, so there was a resistance to
these works for many years.
BUT tragedy was revived and made both
explicitly political and uncomfortably
real because there were ‘ordinary’ people
in tragic situations on stage = domestic
drama
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LECTURE 1
A REVIEW
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Teacher’s Intro
 Course orientation
Agenda of the Talk:
 Drama?
 Types of drama
 Elements of drama
 Conventions of drama
 A brief history of drama
 Dramatic terminology
 Introduction to Modern Drama, how modern
Drama is different from Classical Drama

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LECTURE 2
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Major themes of
the Modern
Drama
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