Social Class And Gender Roles

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How are the tensions between social classes and/or genders dramatised in Modern European Drama?

Social class and gender roles, were and still are today, a key element in the progression of theatre. Dada and Futurism, as movements in theatre took place at the time of the social class war, the prejudice against women and their rights and the struggle to create an equal society. The two movements, of avant-garde style contained three stage in which they were able to create; ‘analysis…engagement…forward vision’ (Berghaus, 2005). Their method to create art and theatre was impelled on by their desire to attack the ‘dominant ideology of bourgeois society’ (Berghaus, 2005)

‘some claim that the word was “discovered” by opening a dictionary at random’(Sawelson-Gorse, 1998)

Dada was a ‘crusade in order to win back the promise land of creativity’ (Berghaus, 2005). Dada, as a movement, did not only take form of inspiring art, but it was a protest, to test the bourgeois society. Dada, as movement has a rampant and wild allure about it. The way in which it was approached and is approached today is similar in a sense of strength and power. In his manifesto Tzara is clear that ‘dada was born of a need of independence’ (Tzara, 1918), this does not only imply that there was no independence in terms of art, but also that Constructivism needed to be moved forward. In Tristen Tzara’s Dadaist Manifesto he does not only have a fighting attitude toward Dada, but also has resilient opinion on the
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