Abstract
One of the most fascinating features of modern American drama is its constant vacillation between the different dramatic modes of realism, expressionism, and (more recently) absurdism, both within one and the same period and within the individual productions of major playwrights. No single mode can for instance be said to typify the plays by modern dramatists like O'Neill, Miller, Williams, or Albee. Using Albee's production as the most comprehensive illustration, this essay will attempt to look more closely at the thematic implications of this medley of dramatic modes and to speculate on some of the possible reasons for such a continual vacillation in dramatic form.
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