Titlebook: Shakespeare and the Modern Dramatist; Michael Scott Book 1989 Palgrave Macmillan, a division of Macmillan Publishers Limited 1989 Beckett.

hereditary

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Demythologising Shylock: Arnold Wesker, The Merchant; Charles Marowitz, Variations on The Merchant z’s . can be seen as two protests against Shakespeare’s play as it is generally perceived. Hey felt independently that this Shakespearean drama of 1598 in its pervailing anti-semitism is intensely objectionable in the twentieth century. Marowitz wrote:

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Frustrating Dramatic Structure: Samuel Beckett, Waiting for Godot and Endgame,to . because both have two desolate old men in a desolate countryside’ (., 30 June 1985). Of all modern rama Beckett’s work has probably been bandied about more than anyone else’s in parallels being drawn ith Shakespeare’s work. John Fletcher and John Spurling have traced the first statements of com

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Modern Morality Plays: Eugene Ionesco, Exit the King and Macbett,d him, and from it he draws the ceremonious grandeur of deposition and death. Love and Necessity, the rival Queens, carry out the ritual of despoiling, which would be thoroughly in the vein of some late medieval writer. In this play Ionesco has reached a firm simplicity of

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Analogy

The Jacobean Pinter: The Homecoming,g the 1965 production Harold Hobson characterised the problem as being one in which theatrical effectiveness was seen as no compensation for moral vacuity. In terming it Harold Pinter’s ‘cleverest play’ he wrote:

Facilities

Introduction: Re-Interpreting Shakespeare, exported them throughout the five continents. He is ranked with the very few – Beethoven, Mozart, Leonardo da Vinci, Michelangelo, Picasso, Tolstoy – as one of the greatest artists of Western civilisation; a man who Ben Jonson proclaimed was for all time. Yet as a dramatist his ‘universality’ is pe

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