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Home on the stagedomestic spaces in ...

Grene, Nicholas.

Home on the stagedomestic spaces in modern drama /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Home on the stageNicholas Grene.
Reminder of title:	domestic spaces in modern drama /
Author:	Grene, Nicholas.
Published:	Cambridge :Cambridge University Press,2014.
Description:	x, 242 p. :ill., digital ;24 cm.
Subject:	Domestic dramaHistory and criticism.
Online resource:	https://doi.org/10.1017/CBO9781139939607
ISBN:	9781139939607$q(electronic bk.)

Home on the stagedomestic spaces in modern drama /
Grene, Nicholas.

Home on the stagedomestic spaces in modern drama /[electronic resource] :Nicholas Grene. - Cambridge :Cambridge University Press,2014. - x, 242 p. :ill., digital ;24 cm.

Machine generated contents note: Introduction: Ibsen and after; 1. A Doll's House: the drama of the interior; 2. The Cherry Orchard: all Russia; 3. Heartbreak House: waiting for the Zeppelin; 4. Long Day's Journey into Night: the Tyrones at home in America; 5. A Streetcar Named Desire: see-through representation; 6. Endgame: in the refuge; 7. The Homecoming: men's room; 8. Arcadia: seeing double; 9. Topdog/Underdog: welcome to the family; Conclusion: home base.

As a serious drama set in an ordinary middle-class home, Ibsen's A Doll's House established a new politics of the interior that was to have a lasting impact upon twentieth-century drama. In this innovative study, Nicholas Grene traces the changing forms of the home on the stage through nine of the greatest of modern plays and playwrights. From Chekhov's The Cherry Orchard through to Williams's A Streetcar Named Desire, domestic spaces and personal crises have been employed to express wider social conditions and themes of class, gender and family. In the later twentieth century and beyond, the most radically experimental dramatists created their own challenging theatrical interiors, including Beckett in Endgame, Pinter in The Homecoming and Parks in Topdog/Underdog. Grene analyses the full significance of these versions of domestic spaces to offer fresh insights into the portrayal of the naturalistic environment in modern drama.

ISBN: 9781139939607$q(electronic bk.)Subjects--Topical Terms:

810654
Domestic drama
--History and criticism.

LC Class. No.: PN1954 / .G74 2014

Dewey Class. No.: 809.829355

Home on the stagedomestic spaces in modern drama /
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505 8 $a Machine generated contents note: Introduction: Ibsen and after; 1. A Doll's House: the drama of the interior; 2. The Cherry Orchard: all Russia; 3. Heartbreak House: waiting for the Zeppelin; 4. Long Day's Journey into Night: the Tyrones at home in America; 5. A Streetcar Named Desire: see-through representation; 6. Endgame: in the refuge; 7. The Homecoming: men's room; 8. Arcadia: seeing double; 9. Topdog/Underdog: welcome to the family; Conclusion: home base.
520 $a As a serious drama set in an ordinary middle-class home, Ibsen's A Doll's House established a new politics of the interior that was to have a lasting impact upon twentieth-century drama. In this innovative study, Nicholas Grene traces the changing forms of the home on the stage through nine of the greatest of modern plays and playwrights. From Chekhov's The Cherry Orchard through to Williams's A Streetcar Named Desire, domestic spaces and personal crises have been employed to express wider social conditions and themes of class, gender and family. In the later twentieth century and beyond, the most radically experimental dramatists created their own challenging theatrical interiors, including Beckett in Endgame, Pinter in The Homecoming and Parks in Topdog/Underdog. Grene analyses the full significance of these versions of domestic spaces to offer fresh insights into the portrayal of the naturalistic environment in modern drama.
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856 4 0 $u https://doi.org/10.1017/CBO9781139939607