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American Drama
Directions: Read the background information (pp810-824) on American Drama. Take notes -- write the answer to each
questions in a complete sentence. You will need these notes for the common assessment test.
I. Novel vs. Play
1. What are the main differences between a novel and a play?
2. What is essential to a good play that cannot be replaced by fascinating
effects?
II. Structure: Organizing Our Emotions
1. Why can a play go wrong?
2. What does a playwright do early on in a play?
3. What is usually different about the conflict in a play?
4. Find the definitions of external conflict and internal conflict in the back of
the book (pp1191-1192) and write down the definitions.
5. What is the definition of the protagonist?
6. What is exposition?
7. Why can a play in an empty theatre not be a play?
III. How a Play is Produced (It's a Miracle)
1. With what idea are most play put on?
2. How much does it cost (approximately) to put on a play?
3. What role do the producers play?
4. Why does Broadway remain the goal of most playwrights?
5. What is the role of the agent?
6. What is the role of the director?
7. Why might we call playwrights the "walking wounded"?
IV. The History of American Drama: The Caboose of Literature
1. What was American drama like before O'Neill?
2. How much significant drama was produced during most of the 1800's?
3. Why did Robert Sherwood call drama "the caboose of literature"?
4. Why is theatre considered a social art?
V. The Influence of Europe: Psychology and Taboo Subjects
1. What were the innovations of the three major European playwrights?
VI. Realism and Eugene O'Neill: Putting American Drama on the Map
1. What is the definition of realistic drama?
2. During what time period did realistic drama become dominant?
3. What was the purpose of the small theatrical groups that formed during this
time?
4. What did O'Neill try especially hard to reveal?
VII. Arthur Miller: Playwright of our Social Conscience
1. What two movements do Miller and Williams represent?
2. What is Miller's best work?
3. Of what is he considered to be the "master"?
4. Why can he be considered a disciple of Ibsen?
5. What does the development of the action and characters depend on?
6. What is Miller's style of prose (writing)?
VIII. Tennessee Williams: Playwright of Our Souls
1. How is Williams' focus different from Miller's?
2. What did Williams probe in his plays?
3. How is Williams' writing style difference from Miller's?
4. How are Williams' characters different from Miller's?
5. How did Williams expand the notion of realism?
IX. The Revolt Against Realism: Theatre of Fragmentation
1. What does the current revolt of theatre focus on?
2. Where did "expressionist" theatre come from, and what are its
characteristics?
3. What does the action of an "absurd" play intend to do?
4. What is the problem with absurdist/static drama?
5. What has happened as a result of accepting experimental drama as a valid
art form?
American Drama
Directions: Read the background information (pp810-824) on American Drama. Take notes -- write the answer to each
questions in a complete sentence. You will need these notes for the common assessment test.
I. Novel vs. Play
1. What are the main differences between a novel and a play?
2. What is essential to a good play that cannot be replaced by fascinating
effects?
II. Structure: Organizing Our Emotions
1. Why can a play go wrong?
2. What does a playwright do early on in a play?
3. What is usually different about the conflict in a play?
4. Find the definitions of external conflict and internal conflict in the back of
the book (pp1191-1192) and write down the definitions.
5. What is the definition of the protagonist?
6. What is exposition?
7. Why can a play in an empty theatre not be a play?
III. How a Play is Produced (It's a Miracle)
1. With what idea are most play put on?
2. How much does it cost (approximately) to put on a play?
3. What role do the producers play?
4. Why does Broadway remain the goal of most playwrights?
5. What is the role of the agent?
6. What is the role of the director?
7. Why might we call playwrights the "walking wounded"?
IV. The History of American Drama: The Caboose of Literature
1. What was American drama like before O'Neill?
2. How much significant drama was produced during most of the 1800's?
3. Why did Robert Sherwood call drama "the caboose of literature"?
4. Why is theatre considered a social art?
V. The Influence of Europe: Psychology and Taboo Subjects
1. What were the innovations of the three major European playwrights?
VI. Realism and Eugene O'Neill: Putting American Drama on the Map
1. What is the definition of realistic drama?
2. During what time period did realistic drama become dominant?
3. What was the purpose of the small theatrical groups that formed during this
time?
4. What did O'Neill try especially hard to reveal?
VII. Arthur Miller: Playwright of our Social Conscience
1. What two movements do Miller and Williams represent?
2. What is Miller's best work?
3. Of what is he considered to be the "master"?
4. Why can he be considered a disciple of Ibsen?
5. What does the development of the action and characters depend on?
6. What is Miller's style of prose (writing)?
VIII. Tennessee Williams: Playwright of Our Souls
1. How is Williams' focus different from Miller's?
2. What did Williams probe in his plays?
3. How is Williams' writing style difference from Miller's?
4. How are Williams' characters different from Miller's?
5. How did Williams expand the notion of realism?
IX. The Revolt Against Realism: Theatre of Fragmentation
1. What does the current revolt of theatre focus on?
2. Where did "expressionist" theatre come from, and what are its
characteristics?
3. What does the action of an "absurd" play intend to do?
4. What is the problem with absurdist/static drama?
5. What has happened as a result of accepting experimental drama as a valid
art form?