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APPENDIX H
Dr. Dennis Elkins' Response
Responses for Textual Analysis
Bonny Copenhaver: Themes of Gender and Gender Roles of Characters
By Dr. Dennis R. Elkins
Of the list of plays provided to me by Ms. Copenhaver, the following is in response to which
Modern and Postmodern plays I would recommend she examine for her analysis:
Based upon the delineation given, I have no questions regarding the plays having been divided
by categories of Modern and Postmodern. I would, however, suggest that Amiri Baraka's play,
Dutchman, be placed under the category of Modern and, perhaps, Beckett's Endgame be placed
under Postmodern. I feel that Baraka's treatment of the African-American male is more closely
akin to that found in A Raisin in the Sun than perhaps Master Harold…or Fences. I would also
argue that the realism in Baraka's play is more similar to the American realism of the 1960's.
Also, I would be more comfortable placing Beckett in with the Postmodern period because he is
often seen as a playwright who was the pivotal point in Western Theatre that took the step from
Modern to Postmodern.
My list of five Modern plays would include Major Barbara, Desire Under the Elms, A Raisin in
the Sun, and Trifles. I cannot decide upon a fifth play because I am unfamiliar with either Votes
for Women or Rachel. But my decision on the preceding four plays is based upon the author's
treatment of their female characters, the different types of female characters found in each play,
the style of the play in which they are found, and the background of the playwright. The
playwrights, Shaw, O'Neill, Hansberry, and Glaspell offer four distinctly different playwrights
writing from four very different social/economic and geographical standpoints. Their female
characters are also differentiated by their social/economic and geographic backgrounds. Also, I
feel the women are clearly defined—even with an understanding of how far Shaw could
realistically define his female characters. From a chronological perspective, Shaw to Hansberry
would give a definitive break in the time line between Modern and Postmodern. (If I could, I
would have included Lillian Hellman's The Little Foxes or The Children's Hour).
My list of five Postmodern plays would include spell #7, Cloud Nine, Oleanna, The Beauty
Queen of Leenane and How I Learned to Drive (alternates would be Fool for Love and Dancing
at Lughnasa). Again, for many of the same reasons I chose the four from the Modern period, I
found these to be the most representative of the Postmodern period providing an array of
social/economic and geographical standpoints. Of the playwrights from which I had to choose, I
have listed three women and two men, one of which is African-American and two are non-
American. Also, their characters are multi-dimensional—distinctive and believable.
I would have included other plays from some of these authors, such as The Real Thing or
Arcadia from Tom Stoppard instead of Professional Foul. But the earlier communiqué
regarding the selection process explained why Stoppard's better plays were not on the list. I hope
my list has been helpful. Should you require further information, do not hesitate to contact me.