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Books > Language & Literature > Literature: history & criticism > Literary studies > From 1900
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Beyond Naturalism - A New Realism in American Theatre (Hardcover)
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Beyond Naturalism - A New Realism in American Theatre (Hardcover)
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Demastes, in his interesting study of the work of David Rabe, David
Mamet, Sam Shepard, Charles Fuller, Beth Henley, and Marsha Norman,
examines how these playwrights utilize the realist format to
redirect perception of human life, how they cope with the
consciously taken 'task of challenging old systems of thought from
a base of new perspective.' The analyses of individual plays are
preceded by a brief review of some earlier dramatic theories of
realism revealing the roots and antecedents of the new forms. . . .
Beyond Naturalism is a very useful and valuable contribution to
drama and theatre studies. American Literature Demastes explores
the work of a group of playwrights who have moved beyond the
often-maligned naturalist approach to create what he terms the new
realism in American theatre. Demastes argues that this new realism
is separate and distinct from the narrow focus of naturalism and is
the result of tapping into a growing tradition inherited from the
experimental work of prior decades such as absurdist theatre and
experimentation of the 1960s. The playwrights who most exemplify
the new realism--David Rabe, David Mamet, Sam Shepard, Charles
Fuller, Beth Henley, and Marsha Norman--are examined in depth. Each
has separately taken on the challenge to modify the forms of
traditional realism to fit more modern visions of existence. In the
process, they have broken from naturalism, infusing realism with
fresh and contemporary perspectives of the world around them.
Demastes shows that even though these playwrights' return to
realism has won them larger audiences and greater accessibility,
the break from naturalist logic has sometimes confused American
critics and audiences--leading them to conclude such works to be
bad drama. To uncover the various points of confusion, Demastes not
only analyzes the playwrights' contributions but also examines the
critical impressions of their productions to assess the reactions
of a theatre-going public raised on naturalist assumptions and now
asked to adapt to the new alterations confronting them. This
two-pronged approach enables the reader to both explore the
evolution of new realism and assess the degree to which it can
legitimately be considered a new form of American theatre.
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