Drama: Verskil tussen weergawes

Die vername en innoverende bydraes van die [[19de eeu|19de-eeuse]] Noorse dramaturg [[Henrik Ibsen]] en die [[20ste eeu| 20ste-eeuse]] Duitse teaterpraktisyn [[Bertolt Brecht]] domineer moderne drama; elk inspireer ’n tradisie van nabootsers, wat heelwat van die grootste dramatici van moderne tye insluit.<ref>Williams (1993, 25–26) en Moi (2006, 17). Moi skryf dat "Ibsen is the most important playwright writing after Shakespeare. He is the founder of modern theater. His plays are world classics, staged on every continent, and studied in classrooms everywhere. In any given year, there are hundreds of Ibsen productions in the world." Ibseniete sluit in [[George Bernard Shaw]] en [[Arthur Miller]]; Brechtiane sluit in [[Dario Fo]], Joan Littlewood, [[W. H. Auden]] [[Peter Weiss]], [[Heiner Müller]], Peter Hacks, Tony Kushner, Caryl Churchill, John Arden, Howard Brenton, Edward Bond, en David Hare.</ref> Die werke van beide dramaturge is, op hulle verkillende wyses, beide [[Modernisme|modernisties]] en realisties, en inkorporeer formele eksperimentalisme, Meta-teatrale en sosiale kritiek.<ref>Moi (2006, 1, 23–26). Taxidou skryf: "It is probably historically more accurate, although methodologically less satisfactory, to read the Naturalist movement in the theatre in conjunction with the more anti-illusionist aesthetics of the theatres of the same period. These interlock and overlap in all sorts of complicated ways, even when they are vehemently denouncing each other (perhaps particularly when) in the favoured mode of the time, the manifesto" {{Harv|Taxidou|2007|p=58}}.</ref> In terme van die tradisionele teoretiese diskoers van genre is Ibsen se werk al beskryf as die hoogtepunt van "verligte tragedie", terwyl Brecht s'n weer vereenselwig is met ’n histories egte komedie.<ref>Williams (1966) en Wright (1989).</ref>

 

 

== Asiatiese drama ==