MEG 17 Solved Assignment 2022-23
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MEG 17 Solved Assignment 2022-23
MEG - 17
AMERICAN DRAMA
ASSIGNMENT 2022 - 2023
(Based on Blocks (1 – 10)
MEG 17/TMA 01/ 2022-23
Max. Marks: 100
Attempt any five questions. All questions carry equal marks.
1. Discuss Eugene O’Neill’s contribution to modern American Drama.
O'Neill is
the only American playwright to have won the Nobel prize for literature, and
the only dramatist to have won four Pulitzer prizes. He introduced
psychological and social realism to the American stage; he was among the
earliest to use American vernacular, and to focus on characters marginalised by
society. Before O'Neill, American theatre consisted of melodrama and farce; he
was the first US playwright to take drama seriously as an aesthetic and
intellectual form. He took it very seriously indeed; one cannot accuse O'Neill
of frivolity. Of more than 50 finished plays, O'Neill wrote just one ostensible
comedy, Ah, Wilderness! (1933), and even its plot hinges on
drunkenness, prostitution, revenge and repressed desire. Of course, most of
O'Neill's plays involve drunkenness, prostitution, revenge and repressed
desire; Ah, Wilderness! is the only one that manages a happy ending,
although A Moon for the Misbegotten (1946) does admit the possibility
of forgiveness, a conclusion that for O'Neill seems downright giddy.
His first
popular hit was The Emperor Jones in 1920, followed by a string of
plays including Anna Christie and Desire Under the Elms in
1924. That same year also saw All God's Chillun Got Wings, a
groundbreaking exploration of interracial relations that provoked hate mail and
bomb threats. Strange Interlude won a Pulitzer in 1928; three years
later O'Neill finished Mourning Becomes Electra. In 1936 he was awarded
the Nobel; 10 years later, he produced The Iceman Cometh, followed closely
by A Moon for the Misbegotten; both were poorly received. He died in 1953,
having requested that Long Day's Journey Into Night be withheld from
the stage until 25 years after his death. His widow published it three years
later; it was first staged in 1957, and recognised immediately as a triumph,
winning O'Neill his final, posthumous Pulitzer and sparking a revival.
His
significance can hardly be overstated: without O'Neill, there would have been
no Arthur Miller or Tennessee Williams, let alone David Mamet or Sam
Shepard. Yet in general his plays are long, arduous, defiantly demanding;
O'Neill told a reporter before The Iceman Cometh opened that he'd
tried to cut 45 minutes, but had managed only 15: "It will have to run
from 8 o'clock to whenever it now goddamned pleases – maybe quarter to 12. If
there are repetitions, they'll have to remain in, because I feel they are
absolutely necessary to what I am trying to get over."
O'Neill's
writing was always driven by an autobiographical impulse; by the time he wrote Long
Day's Journey into Night and A Moon for the Misbegotten, he was
drawing only the lightest veil between the drama and the dramatist, mining the
story of his family's tortured relationships for their universal meanings. The
fine line between love and hate is one that O'Neill's characters draw and
erase, and draw again: rage explodes, is denied, repressed, avoided and then
explodes once more. Addiction is everywhere, accelerating and deepening the
suffering it is supposed to be assuaging. Guilt, fury, despair, and the
symmetrical need for pity, forgiveness, contrition: these are O'Neill's great
themes. When one learns about the extraordinary drama of O'Neill's early years,
it is not hard to understand why.
He was born
on 17 October 1888, in a hotel in Times Square, New York. His father, James
O'Neill, was a famous and popular actor, known for his touring production of The
Count of Monte Cristo. Eugene O'Neill's dramas would eventually reject
everything his father's career symbolised, the melodramatic tradition of
sentimentality and cheap heroics, cardboard characters and overblown rhetoric.
It was a tradition he knew well: the young Eugene spent his early years
backstage with his mother and older brother Jamie, as they accompanied James
around North America. A middle son, Edmund, had died as a baby from measles,
which he contracted from six-year-old Jamie; the child was accused of
deliberately infecting his brother and remained guilt-stricken for the rest
of his sad, foreshortened life.
After giving
birth to Eugene, Mary Ellen (known as Ella) O'Neill was prescribed morphine for
pain and what we would now call post-natal depression; she rapidly became
addicted. When Eugene was 14, his father and brother decided to tell him the
truth about his mother's addiction. They seem to have implied that if it
weren't for him, none of this misfortune would have befallen the family; Eugene
O'Neill's inconsiderate decision to be born had destroyed his mother.
Predictably enough, the young O'Neill began to self-destruct, consoling himself
with alcohol, narcotics, and prostitutes. Some biographers have asserted that
he was an alcoholic by 15; before he was 20, he'd secretly married a girl who
was pregnant with his child. Two years later, overcome by shame, he overdosed
on Veronal, a popular and easily obtained opiate. A friend got him to the
hospital, where his stomach was pumped; the experience became the kernel of his
one-act play Exorcism, which was believed to have been destroyed until a
copy was found and published last year.
2. What is Black Musical?
In class on
Thursday, Professor Early challenged the group to think about what black music
is. He began by playing several pieces of music that from one perspective might
seem not to qualify as black music: Sammy Davis, Jr.’s highly polished,
Sinatra-esque performance of “My Shining Hour”; and Ray Charles’s
country-western “You Don’t Know Me.” We struggled with the question of how to
define black music—and with the question of whether the term was meaningful or
not. On the one hand, there have been those who have sought to pin specific
attributes on to black music—a certain looseness and flexibility, perhaps; a
penchant for improvisation; an earthy, emotive authenticity. Yet such attempts
almost inevitably become mired in patronizing stereotypes, as Prof. Early
suggested with his mockery of Jack Kerouac’s swooning over black people’s
liberated earthiness in On the Road. On the other hand, there is an opposing
impulse to conclude, simply, that race has no bearing on music; that music is
music and race has nothing to do with it, even though our racialized culture
insists on yoking the two together commercially and cognitively. This idea was
proposed in class, and Prof. Early, I think, acknowledged that on some level it
may be true. Mostly, though, he resisted letting the discussion end there,
instead hearkening all the way back to 1830 in a capsule history of black music
in America.
In honor of
Black Music Month, Music Forward presented a Blues SchoolHouse livestream
from House of Blues Boston powered by Music Drives Us and Boston Cultural
Council. The Blues SchoolHouse band took over 2,000 Boston-area teachers and
students on a musical journey to trace the history and impact of the blues. Blues
SchoolHouse serves as a music timeline of American history and honors the
incredible contributions of Black artists on American music and culture.
Blues music has given people a voice to tell stories, preserve traditions and
express feelings about everyday life and it goes without saying that blues
music has influenced much of the music that we all enjoy today. We’re proud to
tell the story of the blues and highlight the role that music plays in
reflecting the human condition and driving social change.
The
influence of Black artists and musicians is present throughout all aspects of
American culture. In honor of Black Music Month, we embarked on a journey
to explore how Black music impacted not only key moments in history, but also
the artists and songs that we listen to today borrowing from the teachings of
our Blues SchoolHouse program.
You can’t
enjoy the Rhythm and ignore The Blues. Our legacy is rooted in the blues. The
music we all enjoy today is rooted in the blues. Blues was born out of the
oppression, struggle, hope, and resistance experienced by African Americans in
the late 1800s. Pioneers of the blues included artists Robert Johnson, whose
influence is heard in many of today’s legendary guitarists; and Bessie Smith,
the Empress of the Blues, who boldly sang classic blues and established roots
for the forthright expressions of womanhood in music. As the blues-man Willie
Dixon said, “The blues are the roots and the other musics are the fruits.”
3. Narrate the classical background to the study of Musical
Theatre?
4. Do you agree that “After Blenheim” is an anti-war text? What
answer do you give in your defense?
5. Discuss A Raisin in the Sun as a Marxist play.
6. Is The Family Reunion a modernist Drama? Discuss .
7. Discuss the technique of Expressionism in American Drama.
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