Literature Sem 3 PDF

LITERATURE SEM III UNIT –1 Types of Drama a. Tragedy b. Comedy c. Mystery, Miracle and Morality Plays d. Theatre of Ideas e. Epic Theatre f. Theatre of the Absurd UNIT – 2 William Shakespeare Hamlet UNIT – 3 R.B. She...

LITERATURE SEM III UNIT –1 Types of Drama a. Tragedy b. Comedy c. Mystery, Miracle and Morality Plays d. Theatre of Ideas e. Epic Theatre f. Theatre of the Absurd UNIT – 2 William Shakespeare Hamlet UNIT – 3 R.B. Sheridan Rivals UNIT – 4 G.B. Shaw Pygmalion UNIT – 5 One-Act plays g. AA Milne “The boy comes home" h. Harold Pinter “The Room" TRAGEDY Tragedy may be defined as a piece of writing which is generally serious in tone. It traces the eventual defeat or ruin of the main character or protagonist. It entails the death of the protagonist, and this has indeed become the most distinct characteristic of the tragedy.  Aristotle in his poems defines tragedy as “the imitation of an action that is serious and complete achieving a catharsis through incidents arousing pity and terror". Aristotle arrived at this definition after an analysis of the Greek tragedies written by Aeschylus, Euripides and Sophocles. The Greek dramatist Sophocles who lived in the 4th century BC, was a fine composer of tragedies and enriched the quality of Greek tragedies. King Oedipus is one of his best dramas and in the words of a critic “The greatness of King Oedipus lies in the combination of a faultlessly articulated plot with the profound insight into human motive and circumstance. Oedipus is the ruler of thieves, and his wife is a Jocasta. When the drama begins, the city is infested with a plague and according to the Oracle of Delphi, is due to the presence of the King’s murderer in the city. In an earlier episode, King Oedipus had saved his subjects from the Sphinx. Hence, they request him to save them once again this time from this terrible plague. As he contemplates on his action, the blind Prophet Teiresias tells the King that the latter is the cause of the plague. Oedipus believes that his wife’s brother Creon is hatching a conspiracy against him. A heated verbal confrontation takes place between them, and Jocasta intervenes. She describes the circumstances and the way the earlier king was murdered. Oedipus finds some similarity between this description and his own action. Meanwhile, his father King Polypus passes away. According to a prophecy, Oedipus is predicted to marry his own mother. He avoids going back to Corinth, realizing that the King and Queen of Corinth are his foster parents, and his wife Jocasta is none other than his own mother. He hears this from a shepherd by which time Jocasta has already committed suicide. Oedipus blinds himself as punishment and leaves the city. Classic French dramas were based largely on Aristotle’s concept. In the Middle Ages, there was a complete lack of understanding of classical tragedy and of Aristotle’s concepts. They displayed an extremely simplistic view of tragedy in that it dealt with the life of a significant person. Elizabethan tragedy and Shakespearean tragedy alter the tone by making use of humorous scenes or events in tragedy to provide to the audience what is known as comic relief. Also, this age witnessed the emergence of tragicomedies which were popular and successful. This was an original creation with no dependence on Aristotle. In the Restoration period, there emerged another form called the heroic tragedy. This combined the qualities of the epic and the tragedy. Almost until the end of the 17th century tragedy was chiefly written in poetry form. The characters were men of high birth, and their destinies impacted the fact of the place, city or country. It was seldom that the protagonist hailed from the lower rungs of society. The famous Roman dramatist, Seneca made a significant contribution to tragedy. His writings were meant to be recited and not to be stayed. Nevertheless, they became exemplary because they detailed the structure and plot of tragedy. Most of them contained five acts, an ornamental use of language and an intricate plot. Senecan drama developed in two different forms. The first of these was the academic tragedies which made use of the rules of the three unities of time, place and action (based on Aristotle's concepts). The second was more popular and was called revenge tragedies or the tragedy of blood. This was based on Seneca's own preferences for subjects like murder, retribute and ghosts. Seneca wrote as early as the 1" Century A.D. One of his greatest tragedies is entitled Phaedra Theseus, the king of Athens, married to Antiope. They have a son Hippolytus who is an ardent devotee of Diana, the goddess of chastity. He enjoys a life of sports games and detests women. His father, the king, falls in love with the beauty of Phaedra who is the daughter of King Minos. To wed Phaedra, Theseus murders his first wife Antiope. Then he proceeds on an expedition to the underworld to help his friend. In his shrine, his newly wed wife, Phaedra, is attracted to the youthful Hippolytus and makes advances. He successfully rejects this and when her repeated attempts fail, she hatches a plot with the help of her nurse to take revenge. On her husband's return she complains to him about the misconduct of Hippolytus. In a fit of rage, the king orders his son to be killed by a monstrous bull. Hippolytus meets a gory death. Phaedra sutlers pangs of guilt and ends her life after revealing her vile schemes to the king. COMEDY The term comedy is generally used only in relation to drama. But the comic form sometimes appears in prose, fiction and poetry. A comedy is a literary composition intended mainly to entertain its audience or reader. The content and presentation of comedy are selected with a view of delight. It is a work which will certainly not include any events of disaster or tragedy and it eventually concludes on a happy note. Comedy is usually based on events of daily life and views the foibles or shortcomings of people from a humorous perspective. In medieval times, the term was applied to narrative poetry that had happy endings. Dante's Divine Comedy is an illustration of this category. As a form of Drama, the comedy in Europe may be fated back to the time of the Greek dramatist Aristophanes of the 5th century BC. He composed a form known as the Old Comedy which made use of satire in comedy and politicians were usually the target of his writings. This was followed by the tradition of the New Comedy – a fictional form written chiefly by Menander. He dealt with the emotional upheavals of young lovers. The Roman comedy written later by Plautus and Terence was based on the tradition of the New Comedy. However, the greatest period of comedy was in the 16th and 17th centuries in England when exceptional dramatists such as Shakespeare and Jonson emerged on the scene and contributed in a major way to comedy. These two great dramatists are usually considered as completely divergent from each other. Although Jonson claimed that he loved Shakespeare and flat that “He was not of an age but for all times", yet he was critical of Shakespeare's standards of art which according to him, was not of the highest order and his writings revealed a lack of scholarship. This there is a distinct difference of approach and response to the comedies of both these dramatists. Shakespeare's comedies were famed for their pure entertainment value, and he never contemplated their publication, or serious critical engagement. Jonson, on the other hand, does not envisage his plays ending with their stage production. He wrote for publication and considered the best response to his comedy to be serious contemplation about the social critique which he projected in his works. 1.The contribution made to this genre is indeed commendable. Some of Chapman's comedies are innovative and intelligent while Dekker's works are lively, original and extremely well presented in form. His best- known work ‘The Shoemaker’s Holiday’ reveals its penchant for interpreting the life of common man and simple events in an original manner. The usual subject of a Shakespearean comedy is of the boy-meets-pul type, and this is typical of Romantic Comedy. This love affair portrayed a beautiful heroine who in some cases is despised as a man, but the course of this love usually encounters many ups and downs. In fact, Shakespeare's view is that the course of true love does not run smoothly. However, the lovers can weather all the storms and emerge triumphant in the end. Northrop Frye in the Anatomy of Criticism states that Shakespeare makes a median shift from the tension and mundaneness of everyday life to "the green world" -the forest of Arden in “As You Like It” or the idyllic forest of “A Midsummer Night's Dream”. In these refreshing pastoral locales, the difficulties of life are settled, enmities are resolved, and lovers are united in the end. Frye is of the view that the use of such plots reflects primitive myths and rituals which celebrate the triumph of spring or winter. 2. Another significant kind of comedy is the Satiric Comedy. This displays a sense of the ways of society and ridicules its ambivalence. It deals in an ironic way with those who violate the social norms of the times. For example, Ben Jonson in the play Hope and the hemist satanizes the greed of a few intelligent changes. Even the vulnerable victim is held to ridicule the protagonist. 3. The next is the Comedy of Memorable it outs in Shakespeare's. “! abor Losi Much Ado” About Noone but reached the height of excellence. This kind of drama reflected the lifestyle of a man belonging to the genteel society of London. The intrigues and deceits of refined and highbred gentlemen and ladies is the content of this comedy. Apart from the complications of plot construction, the comedy of manners relied heavily on the dialogue because this was the chief vehicle for conveying the comic effect. Hence, the dialogue was infused with much wit and vitality. It made ample use of retorts and repartees which is a kind of verbal device where language is employed like a verbal weapon exactly as a rapier is used in a fencing match. In these comedies, there is a denigration of moral laws of society. The usual characters comprise jealous husbands, dandies and aspiring wits. Congreve's The Way of the World and Wycherley's The Country Wife are fine illustrations of this genre of comedy. Although The Way of the World was unsuccessful on stage, it was considered a fine play in many respects. The plot is hardly appealing because the hero feigns love for an elderly lady with the intention of cheating her and winning over her niece whom he loves. 4.The Restoration comedy was soon followed by the Sentimental Comedy of the 18th century. This type of comedy arose due to the resentment of middle-class society against the indecency of the drama of manners. There was usually bitterness against the language because the dialogue lacked decorum. The rational attitude of the comedy of manners and its avoidance of all sentimental things, where love itself was a bargain and nothing more, gave rise to this revolt. The sentimental comedy began with Steele and was also written by Goldsmith and Sheridan who steers clear of the bawdy style of the earlier comedy and substituted it with width and girth in great measure. This type of comedy soon waned in popularity and was replaced by anti-sentimental comedy. In the 19th century, comedy was revived by Oscar Wilde and in the 20th century, some of the great dramatists such as Shaw, Maugham, Noel Coward and others have used the comic genre skillfully. 5. Comedy of Ideas is a term used for plays which tend to argue or debate concepts of theories. This may be done in a witty manner. An excellent example of this genre is GB Shaw's Man and Superman and The Apple Cart 6. Comedy of Morals is also like theoretical comedy, as it seems to amend vices like hypocrisy, arrogance, greed and social pretensions. Moliere is the finest exponent of this form and Ben Jonson and Shaw also excelled in the writing of this type of comedy. MYSTERY PLAY “Mystery play” refers to a type of theatrical performance that was popular during the Middle Ages, particularly in Europe. These plays were typically religious in nature, and we’re performed in churches or public squares. Mystery plays often depicted biblical stories and events, such as the Nativity, the Passion of Christ, and other religious narratives. They were called “mystery" plays because they conveyed religious mysteries and teachings to a largely illiterate audience. Mystery plays were an essential part of medieval religious and cultural life, serving both as a form of entertainment and as a means of conveying religious stories and moral lessons. Over time, they evolved into other forms of theatre, such as morality plays and secular dramas, which contributed to the development of modern theatre as we know it today. Origins and History: Mystery plays originated during the medieval period, primarily in Europe, with their peak popularity from the 12th to 16th centuries. They were closely tied to the Christian church and it’s teachings, often performed during religious festivals or as part of church services. Biblical and Religious Themes: Mystery plays focused on biblical stories and Religious Themes. Common subjects included the Nativity (birth of Jesus), the Passion (suffering and crucifixion of Jesus), and other key events from the Bible. These plays were used a s a way to covet religious messages and educate a largely illiterate population about the Bible and Christian doctrine. Performance Locations: Mystery plays were typically performed in public squares or in front of churches. Sometimes, they were enacted on elaborate, movable stages or wagons that could be transported to different locations. The settings often represented biblical locations, such as Bethlehem or Jerusalem. Characteristics: Mystery plays featured a range of characters, including biblical figures like Adam and Eve, Mary and Joseph, and various apostles. MIRACLE PLAYS Miracle plays, also known as Mystery plays, are a genre of English literature that originated during medieval period, primarily in the late Middle Ages. These plays are a form of religious drama and were an important part of medieval European culture, not just in England but throughout Europe. Here are some key characteristics of miracle plays in English literature: Biblical and Religious Themes: Miracle plays focused on biblical stories, particularly those from the Old and New Testaments of the Bible. They often depicted events like Nativity, the Passion of Christ, and the lives of saints. These plays were used as a means of conveying religious teachings and stories to a largely illiterate audience. Performed by Laypeople: Miracle plays were typically performed by members of craft guilds or townspeople, rather than professional actors. Each guild or group would be responsible for performing a specific play in a cycle of plays. Cycles of Plays: Miracle plays were often organized into cycles, which were collections of individual plays that covered various biblical stories. These cycles could range from a few plays to dozens and were often performed as a sequence during religious festivals. Religious Festivals: These plays were performed during religious festivals and feast days, such as Corpus Christi, to celebrate and commemorate religious events. They served both as religious instruction and entertainment of the community. Mix of Serious and Comic Elements: Miracle plays could include serious and solemn scenes, especially in stories related to Christ’s suffering, but they also featured humorous and Comic Elements to engage the audience. Religious Morality and Piety: The primary purpose of miracle plays was to promote religious morality, piety, and devotion. They reinforced Christian values and taught lessons about faith and salvation. Use of Pageantry: These plays often made use of elaborate costumes, props, and pageantry to bring the biblical stories to life in a visually captivating manner. Two well-known cycles of miracle play in England are the Chester Mystery Plays and the York Mystery Plays. These plays played a significant role in the development of English drama and literature and were and essential part of the medieval culture, helping to convey religious teachings and stories to the medieval audience. Miracle plays present a real or fictitious account of the life, miracles, or martyrdom of saints. The genre evolved from liturgical offices developed during the 10th and 11th centuries to enhance calendar festivals. Medieval drama is so much different from the way the world knows about drama today. The plays consisted of little entertainment and more didactic elements. However, the crowd used to flood in to watch the plays as they were the only form of entertainment that they were easily related. There were three essential forms of Plays found during the medieval period - Miracle, Morality and Interludes. Apart from the interludes, the two are mainly based on religious beliefs. MORALITY PLAYS A morality play is a type of allegorical drama that was popular in medieval Europe, particularly during the 15th and 16th centuries. These plays were intended to teach moral lessons and convey religious or ethical messages to the audience. Morality Plays often featured allegorical characters representing virtues and gives and depicted the struggle between good and evil. Key characteristics to morality plays include: Allegorical Characters: Characters in morality plays were often symbolic representations of abstract concepts such as Everyman (representing every person), good deeds, knowledge, death, and various vices like greed, pride, and lust. Moral lessons: The primary purpose of morality plays was to teach moral and ethical lessons. These lessons were typically presented through the experiences and choices of the main character, who would undergo a journey of self-discovery and repentance. Religious Themes: Morality Plays often had strong religious undertones, emphasizing the importance of salvation, the consequences of sin, and the need for repentance and redemption. Didactic Nature: Unlike purely entertainment-focused drama, Morality Plays were didactic, aiming to instruct and edit the audience. They were often performed in church settings or during religious festivals. Spectacle and Allegory: These plays relied heavily on symbolism and Allegory, using vivid characters and scenarios to illustrate moral and spiritual concepts. One of the most famous morality plays is “Everyman”, written in the kate 15th century. In this play, the character everyman represents all of humanity, and he faces judgment and seeks salvation with the help if allegorical characters like good deeds and knowledge. Morality Plays played a significant role in the development of English drama and literature, contributing to the evolution of theatre from religious and didactic world to more secular and entertainment-focused productions in later centuries. The Miracle Paly or the Mystery Play The term “Miracle” and “Mystery" are often interchanged and there plays a confusion when trying to know about them separately. However, it would be convenient to understand them together as both plays are based on the stories present in the Bible or based on the miraculous happenings in the lives of saints that led to their martyrdom. The use of biblical figures in plays was observed as early as 10th century and they were called as “tropes”. The tropes gradually evolved taking into consideration several popular elements of the audience and by the 14th century the evolution of the drama was considerable. During this time, York and Chester cities witnessed the performance of developed plays in the form of “cycles”. Fascinatingly, all the plays were written under anonymous authorship and the cycles were well-known based on the regions at which they were performed. Therefore, one would be familiar with Chester Miracle Plays, Wakefield miracle plays, etc., rather than knowing the playwright. Some of the well-known and frequently used in miracle and mystery plays Resurrection of Christ, Abraham and Isaac, Noah, Crucifixion, fall of man and the Last Judgement. Virgin Mary and saint Nicholas were the most desirable characters to show the greatness of saints and martyrdom. The Morality Plays Morality Plays of the medieval period revolved around the dramatization of allegories mainly based on the Christian life and the journey to seek salvation. Any drama of this kind would have a clash between virtues and vices. All these characteristics were personified, and the audience could see the virtues or vices of trying to get the better of each other. This was a revolutionary improvement in medieval drama and the audience were lined the fresh ideas presented through three dramas. The most prevalent character seen in the personification of “vice” or the “devil", which made the audience fall into a state of wonder. The use of these personifications continued even in Elizabethan drama as one can see in Christopher Marlowe's Doctor Faustus. The finest examples of morality plays are The Castle of Perseverance, Everyman and Mankind. They exhibit every element expected of a morality play. Plays like these were considered as links between medieval drama and Elizabethan drama. Often, the Devil and other symbolic characters, such as allegorical figures representing virtues quality and vices, were included to emphasize moral lessons. Language and Style: These plays were performed in the vernacular language of the region, making them accessible to the local audience. The style of the performances could vary from humorous and lively to solemn and dramatic, not happy I serious depending on the specific story being portrayed. Community Involvement: Mystery plays were a community effort, involving various guilds, townspeople, and clergy members. Different groups would be responsible for organizing and performing different parts of the play. These performances often served as a source of civic pride and community bonding. Transition to Morality Plays: Over time, mystery plays evolved into morality plays, which focused more on allegorical and moral themes rather than strictly biblical stories. Morality plays paved the way for the development of secular theater and the emergence of professional actors. Legacy and Influence: Mystery plays played a significant role in the history of theater, helping to shape the dramatic traditions of Europe. They contributed to the development of theater as a means of entertainment and education, ultimately influencing the modern theater we have today. In summary, mystery plays were a form of medieval theater that conveyed religious stories and moral lessons to the public. They were performed in public spaces, often had biblical themes, and involved the community in their production. Over time, they evolved into other forms of theater, leaving a legacy on the performing arts. THEATRE OF IDEAS Historical background of theatres of ideas The concept of "theatre of ideas" refers to a type of theatrical performance that prioritizes the exploration and presentation of intellectual or philosophical concepts rather than traditional, dramatic narratives or entertainment. This form of theater emerged in the 20th century and can be traced back to several historical and cultural movements: 1.Existentialism: Existentialist philosophers like Jean-Paul Sartre and Albert Camus greatly influenced the theatre of ideas. Their exploration of existential themes such as freedom, choice, and the meaning of life found expression in plays like Sartre's "No Exit" and Camus's adaptation of his own novel, "The Stranger," for the stage. 2.Absurdism: Playwrights like Samuel Beckett, Eugène lonesco, and Harold Pinter contributed to the theatre of ideas through their absurdist plays. These works often showcased the absurdity and futility of human existence, emphasizing themes of alienation and the breakdown of communication. 3.Political and Social Movements: The mid-20th century was a time of significant political and social change. Playwrights like Bertolt Brecht sought to engage audiences with ideas related to Marxism, social justice, and the impact of capitalism through epic theatre and alienation. effects.  4.Postmodernism: As the 20th century progressed, postmodernism influenced the theatre of ideas, challenging traditional narrative structures and exploring themes related to identity, reality, and the blurring of boundaries between art and life. 5.Experimental Theater: Experimental theater movements, such as the Living Theatre and the Theatre of the Absurd, encouraged innovative approaches to stage design, performance, and audience engagement, often with a focus on intellectual and philosophical ideas. 6.Performance Art: Artists like Marina Abramović and Joseph Beuys blurred the lines between theater and visual art, incorporating ideas from various disciplines into their performances and challenging conventional notions of art and culture. Overall, the theatre of ideas has been shaped by a desire to provoke thought, question societal norms, and explore philosophical and intellectual concepts through the medium of theater. It continues to evolve and adapt to contemporary cultural and philosophical movements. The term "theaters of ideas" typically refers to the concept of using theatrical performances. and drama to explore and convey complex intellectual and philosophical ideas. Here's a more detailed explanation: 1.Historical Background: The idea of theaters of ideas has its roots in ancient Greek drama, where playwrights like Sophocles and Euripides used theater to explore moral and philosophical questions. These early plays often centered around themes such as fate, justice, and the human condition. 2.Intellectual Exploration: Theaters of ideas aim to go beyond mere entertainment and engage the audience in intellectual exploration. Playwrights and directors use dialogue, characters, and plotlines to delve into profound questions and dilemmas. 3.Key Elements: Character Development: Complex characters with conflicting beliefs and values are often at the heart of these plays. They represent different facets of the ideas being explored. Dialogue: Thought- provoking dialogue is crucial Characters engage in debates and discussions that allow the audience to consider various perspectives. Symbolism: The use of symbolism, metaphors, and allegory is common. These devices help convey abstract concepts and add depth to the narrative. 4.Themes: The themes explored in theaters of ideas can vary widely but often include topics. like: -Ethics: Questions of right and wrong, moral dilemmas, and ethical frameworks. - Existentialism: Exploration of the individual's existence, purpose, and freedom of choice. - Societal Issues: Critiques of society, institutions, and power structures. - Metaphysical Questions: Discussions about the nature of reality, consciousness, and the divine. 5.Examples: -"Hamlet" by William Shakespeare: Explores themes of revenge, madness, and the moral complexities of decision making. "Waiting for Godot" by Samuel Beckett: Examines existential questions while characters wait for someone who may never arrive. "The Stranger" by Albert Camus (adapted into a play): Tackles the absurdity of life and the consequences of a detached, apathetic worldview. 6. Modern Interpretations: Contemporary playwrights and directors continue to use theaters of ideas to address current societal and philosophical issues. These plays often incorporate. modern technology, diverse perspectives, and experimental storytelling techniques. In summary, theaters of ideas are a form of theater that goes beyond entertainment to engage. audiences in deep philosophical and intellectual exploration. They use well-developed characters, thought-provoking dialogue, and symbolism to tackle complex themes and questions about life, society, and human experience. Themes of Theatres of Ideas Theatre of ideas explores a wide range of philosophical, intellectual, and abstract themes. These themes often challenge conventional thinking and encourage audiences to engage in deep reflection and contemplation. Some common themes found in theatre of ideas include: 1.Existentialism: Examining the nature of existence, individual freedom, choice, and the search for meaning in a seemingly indifferent or absurd world. 2.Absurdism: Highlighting the absurdity and irrationality of human existence, often through characters trapped in meaningless or surreal situations. 3.Identity and Self-Discovery: Exploring questions of personal identity, self-discovery, and the search for one's true self amid societal expectations and norms. 4.Alienation and Isolation: Examining the isolation and disconnect experienced by individuals in modern society, whether it's social, emotional, or existential alienation. 5.Moral Dilemmas: Presenting complex moral choices and ethical dilemmas that challenge the audience's moral compass and provoke ethical discussions. 6.Social and Political Critique: Critiquing political systems, social hierarchies, and power structures while advocating for social justice and change. 7.Reality and Illusion: Investigating the blurring of lines between reality and illusion, the nature of truth, and the unreliability of perception. 8.Freedom and Conformity: Exploring the tension between personal freedom and societal conformity, often depicting characters who rebel against societal norms. 9.Communication and Miscommunication: Examining the difficulties of meaningful communication, the breakdown of language, and the barriers to understanding between individuals. 10.Time and Memory: Playing with non-linear timelines, fractured narratives, and the impact of memory on one's perception of reality. 11.Death and Mortality: Delving into the themes of mortality, the inevitability of death, and the meaning of life in the face of mortality. 12.The Nature of Art and Creativity: Reflecting on the purpose and value of art, the role of the artist, and the relationship between art and reality. 13.Surrealism and Dreamscapes: Utilizing dreamlike or surreal elements to challenge the boundaries of reality and explore the subconscious. 14.Meta-Theatricality: Incorporating elements that draw attention to the theatricality of the performance itself, blurring. the lines between the stage and reality. 15.Technology and Humanity: Addressing the impact of technology on human existence, the loss of human connection, and the ethical dilemmas arising from technological advancements. These themes are not mutually exclusive, and many theatre of ideas productions may incorporate multiple themes to create complex and thought-provoking experiences for the audience. The genre encourages viewers to engage in intellectual exploration and critical thinking. Elements of theatres of ideas The theatre of ideas is characterized by several key elements that distinguish it from traditional forms of theater. These elements include: 1.Philosophical and Intellectual Themes: The central focus of theatre of ideas is the exploration and presentation of philosophical, intellectual, or abstract concepts. These themes can encompass existentialism, absurdism, political ideologies, moral dilemmas, and more. q 2.Minimalist or Non-Traditional Set Design: Productions often feature minimalist or unconventional set designs that prioritize symbolism and abstraction over realistic settings. This allows the audience to focus on the ideas presented rather than elaborate scenery. 3.Non-Linear or Experimental Narratives: Unlike traditional linear narratives, theatre of ideas frequently employs non- linear or experimental storytelling techniques. Plots may be fragmented, and time sequences disrupted to challenge the audience's perceptions of reality. 4.Symbolism and Allegory: Symbolism and allegory are commonly used to represent abstract ideas and concepts. Characters and objects often take on symbolic roles that reflect broader philosophical or intellectual themes. 5.Character Development and Archetypes: Characters may be archetypal figures rather than fully developed individuals. They often serve as vessels for representing certain ideas or perspectives rather than having complex personal narratives. 6.Ambiguity and Open-Endedness: These productions often embrace ambiguity, leaving room for interpretation and discussion. The audience is encouraged to engage with the material intellectually and draw their own conclusions. 7. Minimalist Dialogue: Dialogue may be sparse or cryptic, emphasizing silence, pauses, or minimal communication to convey deeper meaning or existential tension. 8. Audience Engagement: Theatre of ideas often seeks to engage the audience intellectually and emotionally, encouraging reflection and discussion long after the performance has ended. 9. Alienation Effects: Some productions incorporate alienation or distancing effects to remind the audience that they are witnessing a theatrical performance, encouraging critical analysis rather than passive consumption. 10.Social and Political Commentary: Many theatre of ideas works incorporate social or political commentary, challenging the status quo and prompting discussions about societal issues. 11.Experimental Techniques: Playwrights and directors frequently employ innovative and experimental techniques in staging, lighting, sound, and movement to enhance the intellectual and emotional impact of the performance. 12.Meta-Theatricality: Meta-theatrical elements, where the play comments on its own theatricality or questions the nature of art and reality, are common in this genre. Overall, theatre of ideas prioritizes thought-provoking content and encourages audiences to grapple with complex philosophical and intellectual concepts, often using unconventional theatrical methods to achieve this goal. Examples of theatres of ideas Theatre of ideas has produced a variety of thought-provoking plays and productions throughout the 20th and 21st centuries. Here are some notable examples: 1.Samuel Beckett's "Waiting for Godot"(1957): This play is a classic of the theatre of the absurd. It explores existential themes, depicting two characters waiting endlessly for someone who may never arrive. The play raises questions about the meaning of existence and the futility of human endeavors. 2.Jean-Paul Sartre's "No Exit": A key work of existentialist theatre, this play features three characters trapped in a room in the afterlife. It delves into themes of personal responsibility, the nature of hell, and the impact of human relationships. 3.Eugène lonesco's "The Bald Soprano": This absurdist play parodies the banality and meaninglessness of everyday conversation. It challenges the conventions of language and social interactions, emphasizing the absurdity of human communication. 4.Bertolt Brecht's "Mother Courage and Her Children": A classic example of epic theatre, this play critiques war and capitalism. It encourages critical thinking about societal issues and the consequences of profit-driven actions. 5. Harold Pinter's "The Birthday Party": Pinter's works often incorporate themes of power, control, and the breakdown of communication. "The Birthday Party" is a prime example, where a seemingly ordinary celebration takes a sinister turn. 6.Tom Stoppard's "Rosencrantz and Guildenstern Are Dead": This play reimagines Shakespeare's "Hamlet" from the perspective of two minor characters. It explores themes of fate, free will, and the absurdity of human existence. 7.Marina Carr's "By the Bog of Cats": Carr's play draws on Greek tragedy to explore themes of abandonment, revenge, and the isolation of the marginalized. It delves into complex psychological and emotional terrain. 8. Caryl Churchill's "Top Girls": This play challenges traditional gender roles and societal expectations, offering a critical exploration of feminism and the sacrifices women make in the pursuit of success. 9.Tony Kushner's "Angels in America": This epic two-part play addresses the AIDS epidemic in the 1980s while exploring themes of love, politics, religion, and the search for meaning in the face of mortality. 10.Sarah Ruhl's "Eurydice”: A modern retelling of the Greek myth of Orpheus and Eurydice, this play explores themes of love, loss, memory, and the boundaries between life and death. These are just a few examples of theatre of ideas works, each of which engages with complex philosophical, intellectual, or abstract concepts and encourages audiences to think deeply about the themes presented. THEATRE OF THE ABSURD What is Theatre of the Absurd? The Theatre of the Absurd is a term coined by Critic Martin Esslin in his essay "Theatre of the Absurd." The term is used for the work of several playwrights, mostly written in the 1950s and 1960s, which were written by a few primarily European playwrights in the late 1950s. Their work simply expressed the thought of human existence that has no meaning or purpose. If a trouble comes, some logic is given on a matter, it simply makes the situation worse and further leads to silence. Theatre of the Absurd Definition: Merriam-Webster Dictionary defines the term as 'Theater 'that seeks to represent the absurdity of human existence in a meaningless universe by bizarre or fantastic means.' Theatre of the Absurd Examples: Theater of absurd illustrates the philosophy of Albert Camus in The Myth of Sysiphus that speaks of life with no inherent meaning in it. For him, world was beyond the understanding of man, so it will always remain absurd, and we should accept this fact. Martin Esslin considered four playwrights: Samuel Beckett, Eugene lonesco, Arthur Adamov and Jean Genet as leaders of the movement. After some time, Harold Pinter was also included in this group and some of the works of Tom Stoppard, Edward Albee and Jean Tardieu were also classified as belonging to Absurdist Theater. But strangely, these writers were not always comfortable with the label and sometimes preferred to use terms such as "Anti-Theater" or "New Theater". Besides these, other playwrights like Tom Stoppard, Arthur Kopit, Friedrich Durrenmatt, Fernando Arrabal, Edward Albee, N.E Simpson, Boris Vian, Peter Weiss, Vaclav Havel, and Jean Tardieu were also associated with this theatre. These playwrights formally grouped under the label of the absurd attempted to convey their sense of bewilderment, anxiety, and wonder before the inexplicable universe. Theatre of The Absurd History: This movement influenced by existentialism, began in the form of experimental theater in Paris and resultantly, after the spread of the absurd form in other country, absurdist plays were written in French. Absurd elements first came into existence after the rise of Greek drama in the plays of Aristophanes in the form of wild humor and buffoonery of old comedy. Then, morality plays of the Middle Ages can also be called a precursor of the Theatre of the Absurd dealing with common man's struggle with allegorical and existential problems. During the Elizabethan period, dramatists like John Webster, Cyril Tourneur, Jakob Biederman and Calderon pictured the world as mythological archetype. In the 19th century, Ibsen and Strindberg also included some elements of absurd theater in their plays, but real precursor of the present Theater of Absurd is Alfred Jerry's monstrous puppet play Ubu Roi (1896). A glimpse of Theater of Absurd can be seen in the dream novels of James Joyce, Franz Kafka who created archetype by delving deep into their own consciousness and attempting to explore the universe. World War II finally brought the Theater of Absurd to life because the chaotic atmosphere during that time was compelling them to think about their absurd existence. Theatre of the Absurd Characteristics: Following are the chief characteristics of the Theater of Absurd, but it must be noted here that all these characteristics cannot necessarily be found in all the absurdist plays because it is not necessary that the playwright must have used all the characteristics of Absurd plays: 1.Questions of Existence: Absurd plays raise some basic questions of existence like- why we are alive. Why do we have to die and why there is injustice and suffering. 2.Distrust in Language: For absurdist playwrights, language is only a meaningless communication and stereotyped exchange of ideas because words fail to express the essence of human existence. 3. Allogical Speeches and Meaningless Plots: By illogical speeches and meaningless plots, they wish to establish a feeling of freedom to make their own worlds. Dr. Culik says, "Rationalist thought, like language, only deals with the superficial aspects of things, Nonsense, on the other hand, opens up a glimpse of the infinite." 4 Re-establishment of man's communion with Universe: They attempt to restore the importance of myth and rituals in the life of man and make them aware of the ultimate realities of their life. 5.Emphasize Abstract Values of Life: Absurdists force us to look at our abstract values of life like love and family. Thus, we may hope to accept the absurdity of life and try to find values in a world devoid of them. 6.Vagueness about Time, Place and Character: Absurdists have no time, place and character in their plays as they feel that there is no past or future, only the repetition of the present. 7.Lack of communication amid characters: Each character lives an egoistic life and attempts to get another character to understand him, and this results in more alienation. Characters in Theater of the Absurd: Characters in the Theater of Absurd range from one-dimension to multi-dimensions and without feeling but still with a very sensitive feeling. Most of the characters are floating, stereotype, archetype and flat because they must deal with the absurd universe and often discard rational and logical devices. The characters speak in clichés and realism is their chief basis but often they are distorted at many points. Complex characters cannot go with this theater because ultimately, they must deal with an incomprehensible universe. Characters in Pinter's plays are trapped in an enclosed space menaced by some force and that force is incomprehensible to them. For example, In the Room, Rose, the main character is menaced by Riley where the real source of menace remains a mystery. Samuel Becket's Waiting for Godot as an Absurd Drama: The characters in Absurd Drama face the chaos of a world that science and logic have abandoned completely. They find themselves trapped in a routine or, in a metafictional conceit, trapped in a story. For example, the titular characters. in Tom Stoppard's Rosencrantz & Guildenstern Are Dead, they find themselves in a story (Hamlet) in which the outcome has already been decided. The absurdists form their characters in interdependent pairs, often either two males or a male and a female. Beckett scholars term it as "pseudo couple" They may be outwardly equal or have a begrudging interdependence (like Vladimir and Estragon in Waiting for Godot). Here, one active character may dominate the other passive characters in the play and the relationship of characters also shift. dramatically Plot: Theater of Absurd discards the traditional pattern of plot construction. It consists of repetition of cliches and routine as in Waiting for Godot. There is always a menacing outside force that remains a mystery throughout the play. Absence, emptiness, nothingness, and unresolved mysteries are central features of many Absurdist plots. Features of Absurdist Plot: Absence Emptiness Nothingness Unresolved Mysteries For example, the action in Waiting for Godot centers round the absence of a character Godot who is long awaited. The plot also revolves round unexplained metamorphosis, a shift in the laws of physics, or a supernatural change. For example, in lonesco's How to Get Rid of It, a couple is dealing with a corpse that is growing large steadily, but lonesco never discloses the identity of the corpse and ultimately, the corpse floats away unidentified in the unknown. The plots are frequently cyclical too as occurs in Endgame, the play begins where it ends, and the theme of routine and repetition keeps on moving. Language: Although absurd plays bear nonsensical language and clichés, they largely are naturalistic. It happens because words lose their denotative function and create misunderstanding among characters that make Theater of Absurd quite distinct. Sometimes, nonsense is used abusively as Pinter did in Birthday Party. Their language is sometimes adorned with phonetic, rhythmical, almost musical qualities that further lead to comedy in absurdity. The dialogues are made elliptical with a certain purpose. Most of Backett's plays do not value language for creating striking tableau. “Pinter pause" used by Harold Pinter presents elliptical dialogue and often primary things which a character should convey are replaced by ellipses or dashes. Technique: The techniques these absurdists use are meta-theatrical techniques which explore role fulfillment, fate, and the theatricality of theatre. For example, in The Balcony, brothel patrons take up elevated positions in role-playing games, but the line between theatre and reality starts to blur. Rosencrantz & Guildenstern Are Dead being yet another example where two minor characters of Hamlet are major role players who encounter with actors who performed 'Mousetrap' in Hamlet. Thus, the techniques of illustrating the theme are so new that people are often confused at the time of production of some of these plays. Theatre of the Absurd Plays: The first large major production of an absurdist play was Jean Genet's The Maids in 1947. Ionesco's The Bald Soprana was first performed in 1950, and Samuel Beckett's Waiting for Gadot is probably the best known of all absurdist plays and it premiered in January 1953. Waiting for Godot is the most controversial absurdist play. The rest of the Absurdist plays are Theatre of the Absurd Authors & Theatre of the Absurd Plays. Samuel Beckett & Waiting for Godot, Endgame. Eugene lonesco & Rhinoceros, The Bald Soprano and Other Plays, How to Get Rid of It. Jean Genet & The Balcony. Slawomir Mrozek & Tango. Walter Wykes & Three Plays of the Absurd. Arthur Adamov & Le Ping-Pong. Harold Pinter & The Dumb Waiter, The Birthday Party, The Homecoming. Tom Stoppard & Rosencrantz & Guildenstern Are Dead. David Lindsay & Fuddy Meers. Witold Gombrowicz & The Marriage. Gao Xingjian & The Other Shore. Jadeusz Rozewicz & Reading the Apocalypse in Bed. Conclusion: Thus, The Absurd Theatre is not a positive play as it never tries to prove that man can still live in the futile world. It only demonstrates the absurdity and illogicality of the world in which we live. but does not provide any solution to the problem. By these plays, man is again and again reminded that his existence in the world is in fact absurd and meaningless. The countdown of The Absurd Theatre began in the mid1960s. Although it shocked the audiences when it first appeared, many of its characteristic features were transferred in mainstream theatre when the Theater of Absurd ended. Those techniques are now commonly being used in modern theatre. UNIT - 2 HAMLET The tragedy of Hamlet – Prince of Denmark Genre: Shakespearean Tragedy 1st performance between 1601 and 1602 Set in Also more Castle in Denmark Characters: Hamlet – Prince of Denmark Claudius – King of Denmark and Hamlets uncle Gertrude – Queen of Denmark and Hamlet’s mother Ghost of Hamlet’s Father Polonius – Chief Counsellor of Claudius Ophelia – Daughter of Polonius and Hamlet’s love interest Laertes – Son of Polonius Horatio – Loyal friend and confidante of Hamlet Rosencrantz and Guildenstem – Friends of Hamlet Fortinbras – Prince of Norway Plot: The play opens with a meeting between Hamlet's friend, Horatio, and two guards of the palace. The guards inform horatio that they have seen a ghost resembling the king who has recently died. The ghost then appears to the group. That night Hamlet sees the king’s ghost. The ghost tells him that he was murdered by Claudius, and he wants hamlet to avenge his murder by killing Claudius. However, he doesn’t want hamlet to harm Gertrude in any way. He agrees with his father’s words but decides he needs to get proof of the truth before taking action. He thinks the best way to do this is by feigning mental illness, and he informs Horatio and one of the guards his plan. Hamlet visits Ophelia but behaves madly. Polonius thinks Hamlet is madly in love with his daughter, Ophelia. The following morning the wedding of the King’s widow Gertrude and Claudius took place. Claudius has taken the throne the throne and Hamlet is extremely unhappy about this and his mother’s wedding. Horatio and the guard inform Hamlet about the ghost. The following scene shows us a conversation between the new King's advisor, Polonius and his son and daughter, Laertes and Ophelia. Ophelia has a romantic interest in hamlet and her father and brother advise her against this. She agrees not to see him anymore. Polonius compels Ophelia to return Hamlet’s love letters and tokens of affection to Hamlet. When Ophelia tries to return Hamlet's things to him, Hamlet accuses her of being immodest and asks Ophelia to go to Nunnery. Claudius observes Hamlet and Ophelia and is convinced that Hamlet is not mad for love. Claudius feels guilty and uncomfortable while watching the play and leaves the room in haste. Hamlet is now convinced that Claudius is the killer. Rosencrantz and Guildenstem tells Hamlet that they have bought along a group of actors that they met while travelling to Elsinore. Hamlet decides to stage a play “Murder of Gonzago” that features a murder similar to the way his father was murdered, according to what the ghost said. Hamlet wants to study the reaction of Claudius on watching the play. Hamlet thinks that if Claudius shows signs of guilt while watching the play, it will prove that he is indeed the murderer of his father. Gertrude on the other hand calls Hamlet to her chamber to demand an explanation for his actions. On his way to Gertrude’s chamber, Hamlet watches Claudius praying and decides not to kill him. Hamlet visits Gertrude’s chamber and they fight bitterly. Hamlet accidentally kills Polonius who was hiding in Gertrude’s chamber thinking it was Claudius. Claudius sends hamlet to England along with Rosencrantz and Guildenstem and tells the English king to execute Hamlet. His plan fails as hamlet returns back to Denmark fooling his friends. Claudius convinces Laertes that Hamlet is solely responsible for the death of Polonius. Claudius proposes a fencing match between hamlet and Laertes with the intention of killing hamlet by giving poisoned tip sword to Laertes. If that plan fails, Claudius will give poisonous wine to Hamlet on the pretext of congratulating him. Gertrude reports that Ophelia has drowned although it is not clear whether it is by suicide or accident. Hamlet meets Horatio in the graveyard of Ophelia, contemplates morality. Hamlet and Laertes engage in the following match planned by Claudius. Gertrude accidentally drinks the poisoned wine prepared for Hamlet and dies. On the other hand, Laertes injected hamlet by the poisoned sword. But then they exchanged their weapons and hamlet also kills Laertes with the poisoned sword. When both of them understands it was Claudius’s plan, Laertes apologizes with hamlet before he dies, and hamlet kills Claudius before his death. Horatio explains the truth to Fortinbrass who becomes the new king, and he honors a military funeral for Hamlet. UNIT – 3 RIVALS R.B. SHERIDAN Characters: Lydia has two other suitors: Bob Acres (a somewhat buffoonish country gentleman), and Sir Lucius O'Trigger, an impoverished and combative Irish gentleman. Sir Lucius pays Lucy to carry love notes between him and Lydia (who uses the name "Delia"), but Lucy is swindling him: "Delia" is Mrs. Malaprop. As the play opens, Sir Anthony arrives suddenly in Bath. He has arranged a marriage for Jack, but Jack demurs, saying he is in love already. They quarrel violently. But Jack soon learns through the gossip of Lucy and Fag that the marriage arranged by Sir Anthony is, in fact, with Lydia. He makes a great show of submission to his father and is presented to Lydia with Mrs. Malaprop's blessing. Jack confides to Lydia that he is only posing as Sir Anthony's son. She annoys Mrs. Malaprop by loudly professing her eternal devotion to "Beverley" while rejecting "Jack Absolute". Jack's friend Faulkland is in love with Julia, but he suffers from jealous suspicion. He is constantly fretting himself about her fidelity. Faulkland and Julia quarrels foolishly, making elaborate and high- flown speeches about true love that satirise the romantic dramas of the period. Bob Acres tells Sir Lucius that another man ("Beverley") is courting the lady of Acres' choice (Lydia, though Sir Lucius does not know this). Sir Lucius immediately declares that Acres must challenge "Beverley" to a duel and kill him. Acres goes along and writes out a challenge note - despite his own rather more pacifist feelings, and the profound misgivings of his servant David. Sir Lucius leaves, Jack arrives, and Acres tells him of his intent. Jack agrees to deliver the note to "Beverley" but declines to be Acres' second. Mrs. Malaprop again presents Jack to Lydia, but this time with Sir Anthony present, exposing Jack's pose as "Beverley". Lydia is enraged by the puncturing of her romantic dreams, and spurns Jack contemptuously. Sir Lucius has also learned of the proposed marriage of Jack and Lydia and determined to challenge Jack. He meets Jack, who, smarting from Lydia's rejection, agrees to fight him without even knowing the reason. They will meet at the same time as Acres is scheduled to fight "Beverley". At the duelling ground, Acres is very reluctant to fight, but Sir Lucius will have no shirking. Jack and Faulkland arrive. Acres learns that "Beverley" is actually, his friend Jack and begs off from their duel. However, Jack is quite willing to fight Sir Lucius, and they cross swords. David informs Mrs. Malaprop, Lydia, Julia, and Sir Anthony of the duel, and they all rush off to stop it. Sir Lucius explains the cause of his challenge, but Lydia denies any connection to him, and admits her love for Jack. Mrs. Malaprop announces that she is Delia, but Sir Lucius recoils in horror, realising that he has been hoaxed. Sir Anthony consoles Mrs. Malaprop, Julia is reconciled to Faulkland, and Acres invites everyone to a party. UNIT – 5 THE BOY COMES HOME The Boy Comes Home Short Summary) It is a room in Mr. James house where Philip is sitting for breakfast after the usual hour as determined by Mr. James. Nobody can have breakfast aft 8:00 But Philip has just returned from war and wants his breakfast after that hour. He asks Marry, the servant, to get him something to eat. She is very afraid of the cook, Mrs. Higgins. But Philips orders her to go and get breakfast. Aunt,Emily enters and seems very caring about Philip. She asks about his stay in the trenches. Then we come to know that Philip does not like his uncle James much because of his strict rules and regulations. There comes Marry telling the aunt that Mrs. Higgins wants to talk to her. Philip asks her to come to the room. Mrs. Higgins comes and says: "Breakfast is at eight o'clock. It always has been as long as I've been in this house, and always will be until I get further orders." Here Philips says that he is just giving further orders for this. She retaliates and the matter reaches even to resignation Philip cuts a cheque and fires her from her job. All of a sudden, the attitude of Mrs. Higgins changes and she says: "If it's only a bit of breakfast, I don't say but what I mightn't get it, if I'm asked decent." Uncle James talks to his wife, Emily, that he wishes to talk to Philip; he seems unhappy over Philip's unpunctuality He tells her: "I have decided that the best thing he can do is to come into the business at once." She asks her husband if he will ask him or just impose his decision upon him. The uncle replies: "What's the difference? Naturally we shall talk it over first fand--er--naturally he'll fall in with my wishes." The aunt tells her husband that "he doesn't seem somehow like a boy who can be told what to do I'm sure they've taught him something. But Uncle James does not seem to listen. Uncle James begins to wait for Philip and perhaps he falls asleep and dreams that Philip has come to meet him. Here Philip is very rude with his uncle. He demands his money before attaining the age of majority, But the uncle refuses to give him the money, Rather he asks his nephew to join him in his jam business. But Philip gets so rough with his uncle that he gets a bomb in his hand threatening his uncle, Philip says that "we use force to put down force'" The uncle gets so terrified before Philip that he surrenders and agrees to do whatsoever Philips wants him to do. Philip goes out and then we see James waking up as if from a dream. He sees about and realizes that it was a dream because he was still in his chair with the newspaper he was reading. After a few moments, Philips enters the room smiling as if nothing has happened at all. Uncle James is much terrified from within but he hides his fear of Philip and offers him to work with anything as Uncle James has dreamt of probably, Uncle James docs ask him if he wants to be an him in his office and James readily agrees as suggested by his uncle Philip does not demand architect, as per the dream it was Philip's desire, but Philip looks strangely at his uncle. But the closing sentence of Philip makes the reader wonder if it was really a dream with Uncle James or some sort of trick played upon him by Phillp about the manager at the business: "Perhaps I'd better bring my revolver, in case he isn't". After Philip is gone, Uncle James looks back into the room thinking if it was a dream or reality. It remains in the dark. Philip is the hero of the comedy The Boy Comes Home. Philip, a young twenty-three, has just returned from a war after four years. He is a carefree and joyful sort of person. He seems to be deeply attached to his aunt, Emily, while he is not much comfortable in the company of his guardian, Uncle James. This is because Uncle James is a strict man that wants to follow a disciplined life. The character of Philip is all about proving what a man can do provided he is confident and knows the right way of using force. Philip is the hero of youth, an ideal personality that knows how to manage things as well as to control humans. Philip convinces us of his skill when he brings round the rude and arrogant Mrs. Higgins. Everybody seems afraid of her except Philip. He orders her for breakfast which she won't serve. Philip asks her to come to the room. Mrs. Higgins comes and says: "Breakfast is at eight o'clock. It always has been if I've been in this house, and always will be until I get further orders." Here Philips says that he is just giving further orders for this. She retaliates and the matter reaches even to resignation. Philip cuts a cheque and fires her from her job. All of a sudden, the attitude of Mrs. Higgins changes and she says: "If it's only a bit of breakfast, I don't say but what I mightn't get it, if I'm asked decent." Similarly, the mere conflict with Mrs. Higgins and its news reaches Uncle James. Since dreams are the best vehicles to rehearse our arts, Uncle James dialogues with Philips in one such dream. The severity of Uncle James ends up in surrendering before Philip. This proves the superiority o Philip and the uncle that had decided to get Philip into his business by word of instructions to offer him anything of his liking. But the hero of the play shows utmost respect for his uncle and joins his uncle's business. Judging the character of Philip from thematic points and symbolic terms, it appears that the anywright has even graver concerns regarding society and extremism while delineating the character of Philip. The character of Philip portrays what happens to the same old values and honorary things during war that we do in general i.e. normal happy life. He makes fun of us all by revealing the horrible face of war and heroism related to war. The cruelty is unleashed in such a manner which baffles us as it does to Mr. James and we, both Mr. James and the society, do our best not to look at the monster problem of the jingles of war The character of Philip is a living manifestation of how war destroys innocence and teaches brutality. Uncle James as a traditional Family Elder in the Boy Comes Home. Uncle James is a weak personality; however, he is severing, and strictly disciplined person is severity passes for strength with the weak. He wishes to dominate his family members with almost no liberty. He is used to deciding for all his family members regardless of the fact they like his decision or not. He is a childless man. Philip, his nephew, has been entrusted to his guardianship/He knows that Philip is a carefree sort of person; therefore, he wants to control him. Though we cannot deny his fatherly affection and care for Philip, yet the way he deals with him is not appreciable. Since Philip has just returned from a four-year long war, he wants to talk to his nephew about his career and future. But Uncle James does not stop here, he wishes to impose his decision on his nephew. Uncle James tells his wife, Emily, that he wishes to talk to Philip; he seems unhappy over Philip's unpunctuality. He tells her: "I have decided that the best thing he can do is to come into the business at once." She asks her husband if he will ask him or just impose his decision upon him. The uncle replies: "What's the difference? Naturally we shall talk it over first, and--er- -naturally he'll fall in with my wishes.  The aunt tells her husband that "he doesn't seem somehow like a boy who can be told what to do. I'm sure they've taught him something". But Uncle James does not seem to listen. Uncle James begins to wait for Philip and perhaps he falls asleep and dreams that Philip has come to meet him. Here Philip is very rude with his uncle. He demands his money before attaining the age of majority. But the uncle refuses to give him the money. Rather he asks his nephew to join him in his jam business. But Philip gets so rough with his uncle that he gets a b in his hand threatening his uncle. Philip says that "we use force to put down force". The ne gets so terrified before Philip that he surrenders and agrees to do whatsoever Philips want do. Philip goes out and then we see James waking up as if from a dream. THE ROOM "The Room’ is the first play written in 1957 at the hand of Harold Pinter. Critics. regard it as the first example of Pinter's 'Comedy of Menace' a comic comedy that threatens and menaces the mood as the mid-20th century English tragicomedy: a plot of reflections and surprises which may be funny and emotionally moving as well as the unconventional end that at least leaves some unsolved questions. The current research tackles Pinter's play The Room which is full of all threats and violence, and which is barely a comic play, yet there seems to be no doubt that the edge of humor is clear through a large proportion of it. It can be said that this contributes to even the underlying sense of menace, threat and violence that escalates terribly at the end. In this paper I have tried to compare Robert Altman's adaptation of Pinter's play named 'Basements,' (1987) and analyze the dramatic elements in the film. There are a few obvious changes as it shifts from the theater to the big screen. that is television, therefore, I have tried to keep the differences to the minimum and focused mostly on the dramatic elements, props, actors and the atmosphere. The movie begins with Rose fumbling around the room, exclaiming about how cold the outside is and how comfortable she has made the room in which she resides with her husband. There is a constant emphasis on the cold and the comfort of the room. The whole time, however, Bert does nothing more than runt and keeps working on his ships inside the glass jar. Rose makes breakfast, 10ves around the room, wondering about the people living in basement in such harsh weather. The landlord, Mr. Kidd comes over and starts talking about the Dom as well. Rose and Kidd seem not to understand what the other is saying; he asks something but the other starts talking of something else. During their conversation we realize that Bert is going to drive his truck in the snow. After e both the men leave, Rose gets two visitors, Mr. and Mrs. Sands, who seem very unpleasant and look suspicious. They are looking for the landlord but deny looking for Mr. Kidd claiming that he's not the man they're looking for. They ask Rose a lot of questions about the room and how long they've been staying there. They leave a rather unpleasant feeling with Rose as they said that they were told her room was vacant. Exasperated Rose asks Kidd about all the confusion only to find out about Riley who has been hiding in the basement waiting for her husband to leave to meet her. During her encounter with Riley, we realize that the blind man is someone she knows but she refuses to acknowledge him, mainly because he's an African American and she does not want to be associated with him. Bert returns and kills Riley, the only one time we find Bert speaking and later we realize towards the end that Rose has gone blind. Dialogue and Sound A lot can be said about a story and how it is going to proceed by the dialogue delivery and a lot of the things were foreshadowed during the first half of the play about what is to come. Rose keeps repeating how cold it is outside and the one time she says that it's "murder" which instantly heightens the effects of the dialogues on the viewers. Also, her emphasis on making the room comfortable and telling Bert again and again about the cold makes it seem like she doesn't want him to leave, also that she wishes to be acknowledged for putting so much effort into making the room so comfortable. Also constantly looking out of the window Rose mentions how dark, so dark that there is no visibility. When she's talking to Mr. Kidd and he keeps telling her about his sister, it's almost comical because neither of them is paying attention to what the other is saying, rather they're more concerned about what they want to say. However, the comedy is lost because of the way Mr. Kidd keeps wandering around the room, restless, as if he is there for some other reason than to enquire about Bert. Later we realize that Mr. Kidd was so engrossed with the man in the basement. that he could not comprehend anything else that Rose was telling him in the presence of Bert. The encounter with Mr. and Mrs. Sands is quite sinister and suspicious. They were both loitering around the building and Rose happened to find them on the way up, and they were quite obviously lying to her about their visit. But talking to them left her disturbed, because they kept saying that the room is supposed to be vacant, while she was residing there already. The repetition of the 'cold' and 'murder' could be associated with the murder death brings coldness. Also, the constant that takes place in that very room emphasis on 'dark' and low visibility could be taken as the foreshadowing of Rose going blind. Props The first shot is Bert decorating the miniature model inside the glass jar. Generally, glass jars with miniature models of ships are found but one closer look will tell that the jar contains a miniature version of the very room they live in. The room inside the glass jar could be symbolic of the room they live in being separated from the others and exists in solitude by the conscious efforts of Rose. It could symbolize Rose being stuck inside the room and her entire existence is within that very room. Costumes Given that they are somehow surviving in the bitterest winters, and it being so cold, they are all wearing very warm clothes. When Bert leaves, Rose makes sure he's further covered with warm clothes by handing him the muffler and jersey. Mr. Kidd, Mr. and Mrs. Sands are all wearing very warm clothes. The Sands, however, wear expensive-looking clothes, quite in contrast to how Rose and the rest were dressed. Lighting The light was sufficient to see from one thing to another. In my opinion, because the play kept emphasizing how dark the surroundings are with zero visibility, as a viewer I found it quite confusing. The lighting was bright, and only once or twice do we see the characters resorting to lighting any lamp. With that in mind, it can be assumed that the surroundings weren't that dark to begin with, it is just that Rose was gradually losing her sight and was therefore finding it difficult to see anything and calling it dark. Atmosphere It is safe to assume that the Sands were nothing more than a fragment of Rose's imagination as Kidd claims to have come as soon as he saw Bert leave, if that is the case, he would have found Rose with the Sands, but he comes after they've left. It could be said that the Sands were the symbols of death and violence. approaching the room that takes place towards the end of the play. The whole play though considered comedy, doesn't provide comic elements; rather they are overshadowed by the lingering sinister effects.