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Anger In A Doll's House

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Anger is perhaps not well understood because it is omnipresent; anger is so familiar that we assume we know what it is. Anger may be partly physiological, cognitive and psychological, yet it is also deeply ideological. Anger can be manifested in art or literature as a communal sensation towards social, political or economical conditions. (Sue J. 6)
“It is wise to direct your anger towards problems — not people; to focus your energies on answers — not excuses,” said William Arthur Ward (Ward 24), and so much can be said for the authors, dramatists and novelists, in the modern era who attempted, through their writings, to crack the shell that is the literary restrictions on writing, and expressed their anger toward all their surroundings. In …show more content…

It also voiced the zeitgeist at the time which was a rebellion against the traditions of theatre and the rules of the well-made play. The Norwegian playwright Henrik Ibsen’s play, Ghosts, came to London in 1888, and scandalised critics and public alike. The theme of the play – syphilis – struck at the heart of the revered institution of the family, and the brooding seriousness of the tone was at the opposite extreme to the ‘entertainment’ that conventional theatregoers expected. A Doll’s House (1879) put the central dilemmas of women’s freedom in a stifling and corrupt bourgeois setting (John …show more content…

At the turn of the century, Expressionism and Symbolism were important, especially in Northern Europe. Both involved non-realistic styles of acting, staging, and language, with expressionism concentrating on using unusual technical devices to project the interior states of characters. Surrealist drama, including the work of Eugene Ionesco, is an outgrowth of Expressionism, but no longer presumes internal coherence and follows the illogic of dream states or random occurrences. Another group of plays focused on social and political critique, in the case of Berthold Brecht combined with techniques of alienation (which emphasize the unreal nature of the play) to force the audience to think critically rather than empathetically. After the World War I western mostly lost its separate literary identity and more internationally unified. Realism, naturalism and symbolism continued to dominate the plays. In English drama John Galsworthy’s plays are considered to be plays of naturalism. Another important movement in early 20th century drama was expressionism. They tried to depict the dehumanizing aspects of 20th century technological life. Even though we cannot find much playwrights of expressionism in English other western writers followed this. The Angry Young Men of England also engage in socially aware portraits of the working class but in a more aesthetically conservative style. In a negative description,

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