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's 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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