Module 2: History of Drama
2.6. Modernist and Postmodern drama

Modernist drama is a direction in theater and literature that was popular in the late 19th and early 20th centuries. It is characterized by experimenting with form and structure, as well as addressing the inner world of characters and exploring the psychological aspects of human nature. Modernist drama often reflects disillusionment with modern society and attempts to understand complex aspects of human life.

Examples of modernist drama include the works of such authors as Samuel Beckett with his play "Waiting for Godot", or Luis Seneca with "Dancing in the Dark".

Features of modernist drama include:

1.       Experimental form: Modernist drama is often characterized by an unconventional structure and form. Authors can use non-linear chronological order, multiple viewpoints, and other unusual techniques.

2. Psychological depth: The main focus is on the inner world of the characters. Playwrights explore their emotions, internal conflicts, and psychological states.

3.     Symbolism and allegory: Symbolic elements and allegories that represent abstract ideas and concepts are often used. This can create a deeper and more ambiguous meaning of the work.

4.    Plot breaks and fragmentation: A modernist drama may contain plot breaks and fragments, reflecting the fragmentation and chaos of the modern world.

5.     Philosophical and socio-cultural topics: Modernist drama often addresses philosophical questions about the meaning of life, identity, and human relationships. It can also criticize social and cultural aspects of society.

6.     Language Game and dialogs: Dialogs can be rich and contain elements of language game and symbolism.

These features have made modernist drama one of the most experimental and intellectual trends in literature and theater.

Postmodern drama is a theatrical genre that is characterized by the use of postmodern elements in the plot, structure, and style. It often plays with traditional dramatic conventions, blurs the lines between reality and fiction, and can incorporate elements of metatext and irony.

Such plays can be experimental and challenging, and also represent reflections on the nature of art, identity, and the meaning of life. They are usually aimed at an audience that is ready for more complex and unconventional theatrical experiences.

Postmodern drama has several distinctive features:

1.       Playing with metatext: Postmodern dramas often include elements of meta-text, meaning they can comment on the process of theatrical performance itself or their own structure.

2.     Intertextuality: Authors of postmodern drama can quote or allude to other works of art, literary texts, and cultural symbols.

3.     Blurring the boundaries: The lines between reality and fiction, characters and actors, past and present can be blurred, creating unexpected and interesting effects.

4.    End-to-end structural disruption: Postmodern drama may not follow traditional structural conventions such as beginning, development, and ending, and instead provide non-linear or fragmented plots.

5.     Irony and self-mockery: Often there are elements of irony and self-mockery in a postmodern drama that can cause viewers to reflect and laugh.

6.     Experimental: This genre is open to experimentation with language, form, and theatrical techniques.

The postmodern drama aims to raise questions about the nature of art, the meaning of life, and sociocultural conventions, often leaving room for interpretation and dialogue.

There are many bright representatives in the postmodern drama. Here are a few of them:

1.       Samuel Beckett: Irish playwright, author of the famous play "Waiting for Godot", which is often associated with postmodern themes such as the absurdity of human existence. However, it is worth noting that he combined modernism, postmodernism and the theater of the absurd.

2.     Haraviyanis Gretsos: Greek playwright known for his experiments in postmodern drama, including plays that play with language and structure.

3.     Tony Kushner: American playwright, author of the play "Angels in America", which combines political, socio-cultural and metaphysical themes characteristic of postmodernism.

4.    Tom Stoppard: A British playwright known for his intellectual and verbal prowess. His plays, such as "Rosencrantz and Guildenstern Are Dead ", often contain postmodern elements.

5.     Sarah Ruhl: A contemporary American playwright whose plays such as "Edward II" and "In the Next Room (or The Vibrator Play)" explore sexuality, identity, and power from a postmodern perspective.

These playwrights represent different aspects of postmodern drama and have left a significant mark on the history of modern theater.

The difference between modernist and postmodern drama lies in their time periods, philosophical approaches, and characteristics of the works:

1.   Time period:

o    Modernism: A literary and artistic movement active in the late 19th and first half-of the 20th century.

o    Postmodernism: Postmodernism follows modernism and begins around the second half-of the 20th century and continues to the present day.

2. Philosophical approach:

o    Modernism: Modernist drama often explores the inner world and psychology of characters, drawing attention to personal and metaphysical issues.

o    Postmodernism: Postmodern drama tends to subvert and destroy traditional literary and theatrical structures. It can play with multiple perspectives, metafiction, and postmodern elements, emphasizing the lack of a single true meaning.

3. Structure and style:

o    Modernism: Modernist drama, while experimenting with form, often has a clearer structure and plot elements.

o    Postmodernism: Postmodern drama can be more fragmented, non-linear, and use metatextual elements such as author's presence and self-awareness.

4.    Attitude to meaning and reality:

o    Modernism: Modernism can strive to find meaning and truth, even if it may be difficult to achieve.

o    Postmodernism: Postmodernism often questions the concepts of truth and emphasizes the lack of absolute truths and unambiguous answers.

It is important to note that the differences between modernism and postmodernism in drama are not always absolute, and some works may contain elements of both these trends. These trends are complex cultural and artistic movements with many variations and interpretations.

The dramatic system of the theater of the absurd is a special theatrical genre that developed in the second half of the XX century. The main features of this system include:

1.       Absurdity of the plot: Plays of the theater of the absurd are often devoid of logic and sequence of events. Plots can be meaningless and ridiculous, emphasizing the chaos and absurdity of human existence.

2. Anxiety and hopelessness: Often the theater of the absurd turns to themes of anxiety, loneliness, and alienation. Characters often feel lost in a meaningless world.

3.     Language destruction: Character dialogues can be meaningless, use ridiculous rhythms and repetitions, which creates a sense of disorientation.

4.    Symbolism and Metaphors: The Theater of the Absurd often uses symbolic elements and metaphors to express the irrationality and mean in glessness of the world.

5.     Minimalism in scenery and props: The set design of the theater of the absurd is usually minimalistic in order to emphasize the action and characters.

6.     Black Humor: Plays of the absurd often feature black humor, which helps express the absurdity of situations.

Notable playwrights of the absurd theater include Samuel Beckett, Eugene Ionesco, and Harold Pinter. The theater of the Absurd has become an expressive way of exploring human nature and modern society, emphasizing its dramatic and absurd aspects.