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- W2022246458 abstract "In 1959, Robert Brustein remarked in Harper’s Magazine that “the lack of communication with the other disciplines gives the drama a peculiar insularity. The typical American playwright is encouraged to write, not by the pull of literary ideals, but by the stimulus of successful Broadway plays, and it is unusual when he develops beyond a hackneyed imitation of what is current and fashionable” (245). This now overly familiar lament, with its complex set of interrelated assumptions about disciplinarity, drama, and the marketplace, would not be worth recounting but for two crucial reasons. First, scholars of American theater and drama still recur to this kind of pronouncement with such regularity that the field as a whole is marked by a peculiarly disabling form of the anxiety of influence. Although recent studies have furthered the important work of examining the “academic and critical bias against American drama” (Smith 2), as Shannon Jackson suggests, the historical relationship between drama and literary/cultural studies remains undertheorized (33–34). And, second, the gravitational center of interest for many current studies in the field remains the postwar period; that is, a time exceptionally invested in defining American “interests” and establishing boundaries of ideological “containment” from which these arguments largely arise. The Cold War, when complaints about the poor quality of American plays was loudest, witnessed both a period of dramatic canon formation (the late Eugene O’Neill, Tennessee Williams, Arthur Miller, Lorraine Hansberry, Edward Albee) and the decade or two when consolidation of the “consensus” model marked what some consider the golden years of American studies." @default.
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- W2022246458 date "2005-01-01" @default.
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- W2022246458 title "Liberalism, Democracy, and the Twentieth-Century American Theater" @default.
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