- Oxford Twenty-First Century Approaches to Literature
- List of Illustrations
- Editors and Contributors
- Medievalism and Modernity
- Mythology, Empire, and Narrative
- Death Drives: Biology, Decadence, and Psychoanalysis
- Cultures of the Avant-Garde
- Emerging Poetic Forms
- When <i>was</i> Modernism?
- What <i>was</i> the ‘New Drama’?
- Who <i>was</i> the ‘New Woman’?
- Utopian Thought and the Way to Live Now
- Naturalism, Realism, and Impressionism
- The Rise of Short Fiction
- Moon Voyaging, Selenography, and the Scientific Romance
- Super-Niches?: Detection, Adventure, Exploration, and Spy Stories
- Scientific Formations and Transformations
- Spirit Worlds
- Cityscapes: Urban Hyperspaces and the Failure of Matter in Late-Victorian and Edwardian Metropolitan Fictions
- The View from Empire: The Turn-of-the-Century Globalizing World
- Race and Biology
- The will to Forget: Amnesia, the Nation, and Ulysses
- The Post-Human Spirit of the Neopagan Movement
- Theatre and the Sciences of Mind
- The Theatre of Hands: Writing the First World War
- The Cult of the Child Revisited Making Fun of Fauntleroy
- Intersexions: Dandyism, Cross-Dressing, Transgender
- Political formations: Socialism, Feminism, Anarchism
- ‘The End of Laissez-Faire’: Literature, Economics, and the Idea of the Welfare State
- Representing Work
- Reading Aestheticism, Decadence, and Cosmopolitanism
- Parodies, Spoofs, and Satires
- Life writing: Biography, Portraits and Self-Portraits, Masked Authorship, and Autobiografictions
- Journalism and Periodical Culture
- The Illustrated Book
- The Coming Of Cinema
- Literature and Photography
- Electricity, Telephony, and Communications
- The residue of modernity: Technology, Anachronism, and Bric-à-Brac in India
- Actors and Puppets From Henry Irving’s Lyceum To Edward Gordon Craig’s Arena Goldoni
Abstract and Keywords
The much-touted ‘New Drama’ defies easy categorization as it straddled—and indeed obliterated—the line between popular and avant-garde theatre, encompassing ‘a huge range of theatrical activity’. Through examples from such as George Bernard Shaw, John Galsworthy, Elizabeth Robins, and Susan Glaspell, this chapter shows that social reform and aesthetic innovation were not mutually exclusive but could go hand in hand. This in turn has profound implications for definitions of modernism that have tended to privilege exclusivity and rupture as the prime requirements for inclusion in the modernist canon. A deeper exploration of the theatre of this period breaks down the binaries of ‘new’ and ‘old’, high and low, ‘mainstream and coterie’ and reveals that ‘bold stylistic experimentation coexisted with active social engagement’.
Sos Eltis, Tutorial Fellow in English, Brasenose College, University of Oxford, UK
Kirsten E. Shepherd-Barr, Professor of English and Theatre Studies; Tutorial Fellow, St Catherine’s College, University of Oxford, UK
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