MEG 17 Solved Assignment 2022-23

 

MEG 17 Solved Assignment 2022-23

AMERICAN DRAMA

MEG 17 Solved Assignment 2021-22 : All assignments are in PDF format which would be send on email/WhatsApp (9958676204) just after payment.

Course Code: MEG 17

Assignment Code: MEG 17/TMA/2022-23

Max. Marks: 100

Attempt any five questions. All questions carry equal marks.

1. Discuss Eugene O’Neill’s contribution to modern American Drama.

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O'Neill is the only American playwright to have won the Nobel prize for literature, and the only dramatist to have won four Pulitzer prizes. He introduced psychological and social realism to the American stage; he was among the earliest to use American vernacular, and to focus on characters marginalised by society. Before O'Neill, American theatre consisted of melodrama and farce; he was the first US playwright to take drama seriously as an aesthetic and intellectual form. He took it very seriously indeed; one cannot accuse O'Neill of frivolity. Of more than 50 finished plays, O'Neill wrote just one ostensible comedy, Ah, Wilderness! (1933), and even its plot hinges on drunkenness, prostitution, revenge and repressed desire. Of course, most of O'Neill's plays involve drunkenness, prostitution, revenge and repressed desire; Ah, Wilderness! is the only one that manages a happy ending, although A Moon for the Misbegotten (1946) does admit the possibility of forgiveness, a conclusion that for O'Neill seems downright giddy.

His first popular hit was The Emperor Jones in 1920, followed by a string of plays including Anna Christie and Desire Under the Elms in 1924. That same year also saw All God's Chillun Got Wings, a groundbreaking exploration of interracial relations that provoked hate mail and bomb threats. Strange Interlude won a Pulitzer in 1928; three years later O'Neill finished Mourning Becomes Electra. In 1936 he was awarded the Nobel; 10 years later, he produced The Iceman Cometh, followed closely by A Moon for the Misbegotten; both were poorly received. He died in 1953, having requested that Long Day's Journey Into Night be withheld from the stage until 25 years after his death. His widow published it three years later; it was first staged in 1957, and recognised immediately as a triumph, winning O'Neill his final, posthumous Pulitzer and sparking a revival.

His significance can hardly be overstated: without O'Neill, there would have been no Arthur Miller or Tennessee Williams, let alone David Mamet or Sam Shepard. Yet in general his plays are long, arduous, defiantly demanding; O'Neill told a reporter before The Iceman Cometh opened that he'd tried to cut 45 minutes, but had managed only 15: "It will have to run from 8 o'clock to whenever it now goddamned pleases – maybe quarter to 12. If there are repetitions, they'll have to remain in, because I feel they are absolutely necessary to what I am trying to get over."

O'Neill's writing was always driven by an autobiographical impulse; by the time he wrote Long Day's Journey into Night and A Moon for the Misbegotten, he was drawing only the lightest veil between the drama and the dramatist, mining the story of his family's tortured relationships for their universal meanings. The fine line between love and hate is one that O'Neill's characters draw and erase, and draw again: rage explodes, is denied, repressed, avoided and then explodes once more. Addiction is everywhere, accelerating and deepening the suffering it is supposed to be assuaging. Guilt, fury, despair, and the symmetrical need for pity, forgiveness, contrition: these are O'Neill's great themes. When one learns about the extraordinary drama of O'Neill's early years, it is not hard to understand why.

He was born on 17 October 1888, in a hotel in Times Square, New York. His father, James O'Neill, was a famous and popular actor, known for his touring production of The Count of Monte Cristo. Eugene O'Neill's dramas would eventually reject everything his father's career symbolised, the melodramatic tradition of sentimentality and cheap heroics, cardboard characters and overblown rhetoric. It was a tradition he knew well: the young Eugene spent his early years backstage with his mother and older brother Jamie, as they accompanied James around North America. A middle son, Edmund, had died as a baby from measles, which he contracted from six-year-old Jamie; the child was accused of deliberately infecting his brother and remained guilt-stricken for the rest of his sad, foreshortened life.

2. What is Black Musical?

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3. Narrate the classical background to the study of Musical Theatre?

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4. Do you agree that “After Blenheim” is an anti-war text? What answer do you give in your defense?

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5. Discuss A Raisin in the Sun as a Marxist play.

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6. Is The Family Reunion a modernist Drama? Discuss

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7. Discuss the technique of Expressionism in American Drama.

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MEG 17 Solved Assignment 2021-22 : All assignments are in PDF format which would be send on email/WhatsApp (9958676204) just after payment.

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MEG 17 Solved Assignment 2022-23 :- Those students who had successfully submitted their Assignments to their allocated study centers can now check their Assignment Status. Alongside --assignment status, they will also checkout their assignment marks & result. All this is often available in a web mode. After submitting the assignment, you'll check you MEG 17 Solved Assignment 2022-23 only after 3-4 weeks. MEG 17 Solved Assignment 2022-23 it'd take 40 days to declare MEG 17 Solved Assignment 2022-23

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