By David Krasner

Content material:
Chapter 1 creation (pages 1–31):
Chapter 2 the cost of Freedom (pages 39–79):
Chapter three Unhinged Subjectivity (pages 80–108):
Chapter four Aboulia (pages 109–135):
Chapter five emerging Symbolism (pages 145–157):
Chapter 6 emerging Expressionism (pages 158–166):
Chapter 7 Rural Realism (pages 171–177):
Chapter eight city Realism (pages 178–181):
Chapter nine positive ardour (pages 182–188):
Chapter 10 The crusade opposed to Earnestness (pages 189–192):
Chapter eleven Distorted Modernism (pages 195–202):
Chapter 12 Lyrical Modernism (pages 203–209):
Chapter thirteen Sentimental Modernism (pages 210–214):
Chapter 14 Eros and Thanatos (pages 217–225):
Chapter 15 Robots and Automatons (pages 226–228):
Chapter sixteen Farce and Parody (pages 229–234):
Chapter 17 Gaming the method (pages 235–258):
Chapter 18 Illusions (pages 265–274):
Chapter 19 Delusions (pages 275–280):
Chapter 20 goals (pages 281–288):
Chapter 21 Gender (pages 289–292):
Chapter 22 Race (pages 293–299):
Chapter 23 The Farce of Intimacy (pages 307–314):
Chapter 24 The Tragedy of Intimacy (pages 315–323):
Chapter 25 Beckett Impromptu (pages 325–348):

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Additional info for A History of Modern Drama, Volume I

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Whoever hasn’t got money … Well, who’s got morals when he’s bringing something like 30 A History of Modern Drama me into the world? We’re flesh and blood, too. Our kind is miserable only once: in this world and in the next. I think if we ever got to Heaven we’d have to help with the thunder (110). This speech is remarkable for several reasons. First is Woyzeck’s prescient understanding of money. Not just cash, but what money means socially, politically, and ethically; as Marx noted (see quote above), money has the power to change reality and ethics.

We’re thick-skinned creatures who reach out our hands toward one another, but it means nothing – leather rubbing against leather – we’re very lonely. JULIE: But you know me, Danton. DANTON: Yes, that’s what they call it. You have dark eyes and curly hair and a delicate complexion and you always call me: dear Georges! But (Touches her forehead and eyelids) what about here, and here? What goes on behind here? No there’s nothing delicate about our senses. Know one another? 90 DANTON: Büchner anticipates the most radical development of modern drama’s emphasis on history, covering his large canvas with the confusion and chaos of the French Revolution.

In one scene after another he is forced to eat only peas, required to hold his urine until told to release it, and humiliated by his lover’s public betrayal. Given to superstition, hearing voices, and hallucinating toadstools, Woyzeck is Introduction 27 treated hardly above the circus animals he views. He observes his live-in lover, Marie, have an affair with the Drum Major, and the affair is made public in a dance hall. Humiliated, he follows them, watches them dance, tries to defy the stronger and more athletic Drum Major, and ends up taking a terrific beating in public.

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