As a serious drama set in an ordinary middle-class home, Ibsen's A
Doll's House established a new politics of the interior that was to
have a lasting impact upon twentieth-century drama. In this
innovative study, Nicholas Grene traces the changing forms of the
home on the stage through nine of the greatest of modern plays and
playwrights. From Chekhov's The Cherry Orchard through to Williams'
A Streetcar Named Desire, domestic spaces and personal crises have
been employed to express wider social conditions and themes of
class, gender and family. In the later twentieth century and
beyond, the most radically experimental dramatists created their
own challenging theatrical interiors, including Beckett in Endgame,
Pinter in The Homecoming and Parks in Topdog/Underdog. Grene
analyses the full significance of these versions of domestic spaces
to offer fresh insights into the portrayal of the naturalistic
environment in modern drama.
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