Write an essay on British drama in the twentieth century
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Twentieth Century British theatre is commonly believed to have started in Dublin, Ireland with the foundation of the Irish Literary Theater by William B. Yeats, Lady Gregory, and J.M. Synge. (Greenblatt 1843) Their purpose was to provide a specifically Celtic and Irish venue that produced works that “stage[d] the deeper emotions of Ireland.” (The Abbey's) The playwrights of the Irish Literary Theater (which later became the Abbey Theater, as it is known today) were part of the literary revival and included: Sean O’Casey, J.M. Synge, W.B. Yeats, Lady Gregory and Edward Martyn, to name a few. In England the well-made play genre was being rejected and replaced with actors and directors who were committed to bringing both reform and a serious audience to the theatre by appealing to the younger, socially conscious and politically alert crowd. In the plays by George Bernard Shaw, Harley Granville Barker, W. Somerset Maugham, and John Galsworthy, characters emulated this new crowd, satirized the well-made play characters, and created new stereotypes and new standards. (Chothia)
The early twentieth century denoted the split between 'frocks and frills' drama and serious works, following in the footsteps of many other European countries. "In Britain the impact of these continental innovations was delayed by a conservative theatre establishment until the late 1950s and 1960s when they converged with the counter-cultural revolution to transform the nature of English language theatre." The West End, England's Broadway, tended to produce the (Greenblatt 1844) musical comedies and well-made plays, while smaller theatres and Irish venues took a new direction. The new direction was political, satirical, and rebellious. Common themes in the new early 20th century drama were political, reflecting the unease or rebellion of the workers against the state, philosophical, delving into the who and why of human life and existence, and revolutionary, exploring the themes of colonization and loss of territory. They explored common societal business practices (conditions of factories), new political ideologies (socialism), or the rise of a repressed sector of the population (women).(Chothia) Industrialization also had an impact on Twentieth century drama, resulting in plays lamenting the alienation of humans in an increasingly mechanical world. Not only did Industrialization result in alienation; so did the wars. Between the wars, two types of theatre reined. In the West End, the middle class attended popular, conservative theatre dominated by Noël Coward and G.B. Shaw. "Commercial theatre thrived and at Drury Lane large budget musicals by Ivor Novello and Noel Coward used huge sets, extravagant costumes and large casts to create spectacular productions." (West End) After the wars, taboos were broken and new writers, directors, and actors emerged with different views. Many played with the idea of reality, some were radically political, others shunned naturalism and questioned the legitimacy of previously unassailable beliefs. (Chothia) Towards the end of the century, the term 'theatre of exorcism' came into use due to the amount of plays conjuring the past in order to confront and accept it. Playwrights towards the end of the century count among their numbers: Samuel Beckett, Harold Pinter, Andrew Lloyd Webber, Brian Friel, Caryl Churchill, and Tom Stoppard. The last act of the century was a turn back towards realism as well as the founding of Europe's first children's cultural center.
The early twentieth century denoted the split between 'frocks and frills' drama and serious works, following in the footsteps of many other European countries. "In Britain the impact of these continental innovations was delayed by a conservative theatre establishment until the late 1950s and 1960s when they converged with the counter-cultural revolution to transform the nature of English language theatre." The West End, England's Broadway, tended to produce the (Greenblatt 1844) musical comedies and well-made plays, while smaller theatres and Irish venues took a new direction. The new direction was political, satirical, and rebellious. Common themes in the new early 20th century drama were political, reflecting the unease or rebellion of the workers against the state, philosophical, delving into the who and why of human life and existence, and revolutionary, exploring the themes of colonization and loss of territory. They explored common societal business practices (conditions of factories), new political ideologies (socialism), or the rise of a repressed sector of the population (women).(Chothia) Industrialization also had an impact on Twentieth century drama, resulting in plays lamenting the alienation of humans in an increasingly mechanical world. Not only did Industrialization result in alienation; so did the wars. Between the wars, two types of theatre reined. In the West End, the middle class attended popular, conservative theatre dominated by Noël Coward and G.B. Shaw. "Commercial theatre thrived and at Drury Lane large budget musicals by Ivor Novello and Noel Coward used huge sets, extravagant costumes and large casts to create spectacular productions." (West End) After the wars, taboos were broken and new writers, directors, and actors emerged with different views. Many played with the idea of reality, some were radically political, others shunned naturalism and questioned the legitimacy of previously unassailable beliefs. (Chothia) Towards the end of the century, the term 'theatre of exorcism' came into use due to the amount of plays conjuring the past in order to confront and accept it. Playwrights towards the end of the century count among their numbers: Samuel Beckett, Harold Pinter, Andrew Lloyd Webber, Brian Friel, Caryl Churchill, and Tom Stoppard. The last act of the century was a turn back towards realism as well as the founding of Europe's first children's cultural center.
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The mid twentieth century signified the split amongst 'Frocks and frills' show and genuine works, following in the strides of numerous other European nations. "In Britain the effect of these mainland advancements was deferred by a traditionalist theater foundation until the point that the late 1960s when they joined with the counter-social upheaval to change the idea of English dialect theater." The West End, England's Broadway, tended to deliver the (Greenblatt 1844) melodic comedies and well-made plays, while littler theaters and Irish scenes took another bearing. The new bearing was political, humorous, and defiant. Basic subjects in the new mid twentieth century dramatization were political, mirroring the unease or defiance of the laborers against the state, philosophical, diving into the who and why of human life and presence, and progressive, investigating the topics of colonization and loss of domain.The last demonstration of the century was a turn back towards authenticity and the establishing of Europe's first youngsters' social focus.
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