Edward Albee's Who's Afraid of Virginia Woolf?

Nonfiction, Entertainment, Theatre, Playwriting, Fiction & Literature, Drama, American
Cover of the book Edward Albee's Who's Afraid of Virginia Woolf? by Michael Y. Bennett, Taylor and Francis
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Author: Michael Y. Bennett ISBN: 9781351599528
Publisher: Taylor and Francis Publication: July 11, 2018
Imprint: Routledge Language: English
Author: Michael Y. Bennett
ISBN: 9781351599528
Publisher: Taylor and Francis
Publication: July 11, 2018
Imprint: Routledge
Language: English

Edward Albee’s Who’s Afraid of Virginia Woolf? shocked audiences and critics alike with its assault on decorum. At base though, the play is simply a love story: an examination of a long-wedded life, filled with the hopes, dreams, disappointments, and pain that accompany the passing of many years together.

While the ethos of the play is tragicomic, it is the anachronistic, melodramatic secret object—the nonexistent "son"—that upends the audience’s sense of theatrical normalcy. The mean and vulgar bile spewed among the characters hides these elements, making it feel like something entirely "new."

As Michael Y. Bennett reveals, the play is the same emperor, just wearing new clothes. In short, it is straight out of the grand tradition of living room drama: Ibsen, Chekhov, Glaspell, Hellmann, O’Neill, Wilder, Miller, Williams, and Albee.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Edward Albee’s Who’s Afraid of Virginia Woolf? shocked audiences and critics alike with its assault on decorum. At base though, the play is simply a love story: an examination of a long-wedded life, filled with the hopes, dreams, disappointments, and pain that accompany the passing of many years together.

While the ethos of the play is tragicomic, it is the anachronistic, melodramatic secret object—the nonexistent "son"—that upends the audience’s sense of theatrical normalcy. The mean and vulgar bile spewed among the characters hides these elements, making it feel like something entirely "new."

As Michael Y. Bennett reveals, the play is the same emperor, just wearing new clothes. In short, it is straight out of the grand tradition of living room drama: Ibsen, Chekhov, Glaspell, Hellmann, O’Neill, Wilder, Miller, Williams, and Albee.

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