MEG
17 Solved Assignment 2022-23
AMERICAN
DRAMA
MEG 17 Solved Assignment 2021-22 : All assignments are in PDF format which would be send on email/WhatsApp (9958676204) just after payment.
Course
Code: MEG 17
Assignment
Code: MEG 17/TMA/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.
20
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.
2. What is Black Musical?
20
3. Narrate the classical background to the study of
Musical Theatre?
20
4. Do you agree that “After Blenheim” is an anti-war
text? What answer do you give in your defense?
20
5. Discuss A Raisin in the Sun as a Marxist play.
20
6. Is The Family Reunion a modernist Drama? Discuss
20
7. Discuss the technique of Expressionism in American
Drama.
20
MEG 17
Solved Assignment 2021-22 : All assignments are in PDF format which would be
send on email/WhatsApp (9958676204) just after payment.
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