By R. J. Cardullo
Play research: A Casebook on sleek Western Drama is a mixed play-analysis textbook and path better half that includes twelve essays on significant dramas from the trendy eu and American theaters: between them, Ghosts, The Ghost Sonata, The Doctor's predicament, A Man's a guy, The Homecoming, The bushy Ape, front web page, Of Mice and males, Our city, The Glass Menagerie, and dying of a salesperson. Supplementing those essays are a step by step method of Play research, a thesaurus of Dramatic phrases, research publications, themes for Writing and dialogue, and bibliographies. Written with students in brain (and almost certainly additionally complicated highschool students), those serious essays disguise many of the critical performs taken care of in classes on sleek Euro-American drama and may offer scholars with sensible versions to aid them enhance their very own writing and analytical abilities. the writer is a "close reader" devoted to a close but aim exam of the constitution, type, imagery, and language of a play. additionally, he's involved mainly with dramatic research that may be of gain not just to playreaders and theatergoers, but in addition to administrators, designers, or even actors-that is, with research of personality, motion, discussion, and atmosphere that may be translated into recommendations for theatrical creation, or that may not less than give you the form of knowing of a play with which a theater practitioner may fruitfully quarrel.
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Extra info for A Play Analysis: A Casebook on Modern Western Drama
He attracts sympathy because he has to lose his friend Lennie, to whom he has been so loyal, and whom he has to kill at the last in order to save him from the others. , its tragic weight. After declaring that “the relative meaninglessness of [Lennie’s] victims substitutes pathos for tragedy” (138), Levant goes on to say the following about George: The secondary hero is subordinate in Steinbeck’s work—except in Of Mice and Men. There, Lennie’s murder propels George into a sudden prominence that has no structural basis.
Nonetheless, scholars are often inattentive to the tragic qualities inherent in modern drama, in general, and in Steinbeck’s play, in particular. Harry T. Moore is more illuminating than Stanley Kauffmann on the subject of Of Mice and Men as tragedy, but his view of George as no more than a pathetic character is the opposite of the one put forward in this essay: Violence without tragedy: that is the weakness of [Of Mice and Men]. … There is no authentic tragedy, which comes out of character. Even if we slur over the criticism that Lennie is a poor choice for a central figure in the story because from the start the odds against him are too great—even if we get beyond this 26 ON THE ROAD TO TRAGEDY and admit George as the true protagonist, we still don’t find tragedy.
All three will be “lost in it” (62), in Teddy’s words, while Teddy will take on his cherished role of observer. He looks on calmly as Lenny dances with Ruth, and as Joey “leans her back [on the sofa] until she lies beneath him” (59). She has spoken of herself as an object of desire, then she is treated like one; like Teddy’s later departure from the family home, which is consistent with his pronouncement prior to it distinguishing himself from “objects,” Ruth’s sexual response to Lenny and Joey is consistent with her own pronouncements.
A Play Analysis: A Casebook on Modern Western Drama by R. J. Cardullo