American theater of the 1960s by Zoltán Szilassy

By Zoltán Szilassy

From the viewpoint of a Hungarian student who has spent a lot time within the usa, Zolt?n Szilassy seeks in the course of the dramaturgical kaleidoscope of the yankee l960s to find what's everlasting in the various various historical past of the interval and to discover the whirlpool of options, a lot of that are nondramatic in starting place or character. The publication is split into components, “The Rebellious Drama” and “The Intermedia.” the 3 chapters partly 1 are “Edward Albee: First between Equals,” “Varieties of the Albee Genera­tion,” and “The Dramaturgical Kalei­doscope of the Sixties.” half 2 comprises “Happenings and New functionality Theories,” “The local substitute Theater,” and “Conclusion, Outlook, and Reminiscences.” Surveying the yankee dramatic scene, Szilassy concludes: the ecu observer should still “hope that american citizens will retain or fairly strengthen the type of theatrical equilibrium that duly made the sixties unforgettable either at domestic and abroad.”

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No mentors, not even Beckett, could provide their followers with an overall technique for Absurd Drama; all had to invent their own clowning, paraphrasing their very own national and spiritual-cultural heritage. Thus, soon after the appearance of the prototypes for Absurd Drama (for example, Beckett's Waiting for Godot [1953] and Ionesco's The Bald Soprano [1950]), various "parallels and proselytes" emerged who can more rightfully be called "absurdists" rather than writers of Absurd Drama. Having achieved a pyrrhic victory in the Anti-Theater versus Page 27 Conservative Theater battle, the Theater of the Absurd soon found its national expression in various parts of the world, including America.

New senecanism" is one of the too-readily available critical approaches, 11 but when concentrating on the main antihero, Julian, the Lay Brother's dilemmas or polylemmas, I would hint at a readier parallel provided by T. S. Eliot in his Murder in the Cathedral. For me, relative innocence and firm readiness for martyrdom connect Julian and Thomas Becket. But all the dramatis personae forcing him into martyrdom are "realistic" enough charactersmore fitting in a play by Shaw than by Eliot. 12 A routine European comparatist would now bring in Pim and Bom from Beckett's Comment c'est, but my approach is different.

S. Eliot in his Murder in the Cathedral. For me, relative innocence and firm readiness for martyrdom connect Julian and Thomas Becket. But all the dramatis personae forcing him into martyrdom are "realistic" enough charactersmore fitting in a play by Shaw than by Eliot. 12 A routine European comparatist would now bring in Pim and Bom from Beckett's Comment c'est, but my approach is different. I consider this particular improvisation of Albee's rather a short essay, in dramatic form, on the possibilities of a YAM (Young American Playwright) contrasted with those of a FAM (Famous American Playwright).

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