DU Sol 6th Sem Modern European Drama Notes and Imp Questions
DU Sol 6th Sem Modern European Drama Notes and Imp Questions , The study of Henrik Ibsen's
"Ghosts" delves into themes of social critique and symbolism,
examining how Mrs. Alving challenges societal norms and the significance of the
play's title. Bertolt Brecht's "The Good Woman of Szechuan"
exemplifies Epic Theatre through its use of the alienation effect, the duality
of Shen Te and Shui Ta, and its exploration of morality and social issues.DU Sol 6th Sem Modern European Drama Notes and Imp Questions
Eugene Ionesco's
"Rhinoceros" employs absurdism to reflect on political climates and
themes of conformity, symbolized by characters' transformations into
rhinoceroses and Berenger's resistance. Dario Fo's "Can’t Pay, Won’t
Pay" critiques consumer society with humor and satire, while Franca Rame's
"Rape" addresses feminist themes through personal narrative. August
Strindberg's "Preface to Miss Julie" offers insights into naturalism,
setting the stage for the play's themes.
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Unit 1 Henrik Ibsen Ghosts
Unit 2 Bertolt Brecht The Good Woman of Szechuan
Unit 3 Eugene Ionesco Rhinoceros
Unit 4
a) Dario Fo, Can’t Pay, Won’t Pay, trans. Lino Pertile (London: Methuen,
1987).
b) Franca Rame, ‘Rape’, trans. Gilliana Hanna, ed. Emery (London:
Bloomsbury, 1991) pp. 83-88.
Unit 5 Readings
· August Strindberg, ‘Preface to Miss Julie’, in Miss Julie, trans. Helen
Cooper (London: Methuen, 1992) pp. xixxv.
· Bertolt Brecht, (i) ‘The Street Scene’;(ii) ‘Theatre for Pleasure orTheatre for Instruction’; (iii) ‘Dramatic Theatre vs Epic Theatre’, in Brecht
on Theatre: The Development of an Aesthetic, ed. John Willet (London: Methuen,
1992) pp. 121-28; 68-76; chart, p. 31.
· Eugene Ionesco, (i) ‘Still About Avant-Garde Theatre’ (ii) ‘Remarks on
my Theatre and on the Remarks of Others’, in Notes And Counter Notes: Writings
on the Theatre, trans. Donald Watson (New York: Grove Press, 1964) pp. 53-58;
59-82; (iii) Selection from Present Past, Past Present, trans. Helen R. Lane
(USA: De Capo Press, 1998) pp. 77-82.
· ‘Dario Fo’s Nobel Lecture’ (Stockholm: The Nobel Foundation, 1997).
· Konstantin Stanislavski, ‘Faith and the Sense of Truth’, sections 1, 2,
7, 8, 9, Chapter 8, in An Actor Prepares (Penguin) pp. 121-5, 137-46.
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NOTES & Hardcopy
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DU Sol 6th Sem Modern European
Drama Notes and Imp Questions
Unit 1:
Henrik Ibsen - Ghosts
What are the main themes explored in Henrik Ibsen's Ghosts?
How does Ibsen use symbolism to enhance the narrative in
"Ghosts"?
Discuss the role of social critique in "Ghosts".
How does the character of Mrs. Alving challenge societal
norms in the play?
What is the significance of the title "Ghosts"?
Unit 2:
Bertolt Brecht - The Good Woman of Szechuan
How does "The Good Woman of Szechuan" exemplify
Brecht's concept of Epic Theatre?
Discuss the duality of Shen Te and Shui Ta in The Good
Woman of Szechuan.
What social issues does Brecht address in "The Good Woman of Szechuan"?
How is morality portrayed in "The Good Woman of
Szechuan"?
Unit 3:
Eugene Ionesco - Rhinoceros
What are the central themes of "Rhinoceros" by
Eugene Ionesco?
How does Ionesco use absurdism to convey his message in
"Rhinoceros"?
Discuss the transformation of characters into rhinoceroses
and its symbolic meaning.
What is the significance of Berenger's resistance in Rhinoceros?
How does "Rhinoceros" reflect the political climate
of Ionesco's time?
Unit 4:
Dario Fo and Franca Rame
How does Dario Fo use humor and satire in "Can’t Pay,
Won’t Pay"?
What are the main themes of "Can’t Pay, Won’t Pay"?
How does the play "Can’t Pay, Won’t Pay" critique
consumer society and capitalism?
Discuss the feminist themes in Franca Rame's
"Rape".
How does Franca Rame's "Rape" use personal
narrative to address broader social issues?
Unit 5:
Readings
What insights does Strindberg provide about naturalism in his
"Preface to Miss Julie"?
How does Strindberg's preface set the stage for the themes
explored in "Miss Julie"?
What is the "Street Scene" technique and how does
it serve Brecht’s theatrical aims?
Compare and contrast "Theatre for Pleasure" with
"Theatre for Instruction" as discussed by Brecht.
How does Brecht differentiate between Dramatic Theatre and
Epic Theatre?
What are Ionesco's views on avant-garde theatre as expressed
in "Still About Avant-Garde Theatre"?
How does Ionesco address criticism of his work in
"Remarks on my Theatre and on the Remarks of Others"?
What themes does Ionesco explore in the selection from
"Present Past, Past Present"?
What key themes does Dario Fo discuss in his Nobel Lecture?
How does Dario Fo's Nobel Lecture reflect his approach to
theatre and storytelling?
What does Stanislavski mean by "Faith and the Sense of
Truth" in acting?
How does Stanislavski’s method seek to achieve authenticity
on stage?
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