MEG 17 Solved Assignment 2022-23

 

MEG 17 AMERICAN DRAMA Solved Assignment 2022-23

MEG 17 Solved Assignment 2022: MEG 17 Solved Assignment 2022 MEG 17 Assignment 2022-23 All IGNOU Assignment available at our website. IGNOU University always being in picture due to its IGNOU Assignment Date Extended. In this post Student will Get MEG 17 Solved Assignment 2021.

University: IGNOU

Course: American Drama

Language: ENGLISH

Semester: 2022

Course: American Dram

Session: 2022

Short Name: MEG 17

Assignment Code: MEG 17/TMA/2022-23

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.

After giving birth to Eugene, Mary Ellen (known as Ella) O'Neill was prescribed morphine for pain and what we would now call post-natal depression; she rapidly became addicted. When Eugene was 14, his father and brother decided to tell him the truth about his mother's addiction. They seem to have implied that if it weren't for him, none of this misfortune would have befallen the family; Eugene O'Neill's inconsiderate decision to be born had destroyed his mother. Predictably enough, the young O'Neill began to self-destruct, consoling himself with alcohol, narcotics, and prostitutes. Some biographers have asserted that he was an alcoholic by 15; before he was 20, he'd secretly married a girl who was pregnant with his child. Two years later, overcome by shame, he overdosed on Veronal, a popular and easily obtained opiate. A friend got him to the hospital, where his stomach was pumped; the experience became the kernel of his one-act play Exorcism, which was believed to have been destroyed until a copy was found and published last year.

 

2. What is Black Musical?

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In class on Thursday, Professor Early challenged the group to think about what black music is. He began by playing several pieces of music that from one perspective might seem not to qualify as black music: Sammy Davis, Jr.’s highly polished, Sinatra-esque performance of “My Shining Hour”; and Ray Charles’s country-western “You Don’t Know Me.” We struggled with the question of how to define black music—and with the question of whether the term was meaningful or not. On the one hand, there have been those who have sought to pin specific attributes on to black music—a certain looseness and flexibility, perhaps; a penchant for improvisation; an earthy, emotive authenticity. Yet such attempts almost inevitably become mired in patronizing stereotypes, as Prof. Early suggested with his mockery of Jack Kerouac’s swooning over black people’s liberated earthiness in On the Road. On the other hand, there is an opposing impulse to conclude, simply, that race has no bearing on music; that music is music and race has nothing to do with it, even though our racialized culture insists on yoking the two together commercially and cognitively. This idea was proposed in class, and Prof. Early, I think, acknowledged that on some level it may be true. Mostly, though, he resisted letting the discussion end there, instead hearkening all the way back to 1830 in a capsule history of black music in America.

In honor of Black Music Month, Music Forward presented a Blues SchoolHouse livestream from House of Blues Boston powered by Music Drives Us and Boston Cultural Council. The Blues SchoolHouse band took over 2,000 Boston-area teachers and students on a musical journey to trace the history and impact of the blues. Blues SchoolHouse serves as a music timeline of American history and honors the incredible contributions of Black artists on American music and culture.  Blues music has given people a voice to tell stories, preserve traditions and express feelings about everyday life and it goes without saying that blues music has influenced much of the music that we all enjoy today. We’re proud to tell the story of the blues and highlight the role that music plays in reflecting the human condition and driving social change.

The influence of Black artists and musicians is present throughout all aspects of American culture.  In honor of Black Music Month, we embarked on a journey to explore how Black music impacted not only key moments in history, but also the artists and songs that we listen to today borrowing from the teachings of our Blues School House program.  

You can’t enjoy the Rhythm and ignore The Blues. Our legacy is rooted in the blues. The music we all enjoy today is rooted in the blues. Blues was born out of the oppression, struggle, hope, and resistance experienced by African Americans in the late 1800s. Pioneers of the blues included artists Robert Johnson, whose influence is heard in many of today’s legendary guitarists; and Bessie Smith, the Empress of the Blues, who boldly sang classic blues and established roots for the forthright expressions of womanhood in music. As the blues-man Willie Dixon said, “The blues are the roots and the other musics are the fruits.”

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 D

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