Abstract
Abstract This article argues that juxtaposing Friedrich Nietzsche's The Birth of Tragedy with Thornton Wilder's Our Town reveals the depth of Wilder's artistry. According to Nietzsche's theories, Wilder's emphasis on the play's artificiality invites the audience to participate in its creation. Wilder's use of familiar characters, language, and situations further encourages their involvement. Once he has their attention, he nudges them toward a realization of daily life's often unacknowledged resonance. This sets Wilder's play apart from modern drama's fascination with psychiatric dysfunction, a trend Nietzsche traces to Greek tragedy's corruption by the plays of Euripides. Ironically, Nietzsche and Wilder prefer drama that leaves audiences with an enhanced view of their lives' possibilities by reminding them of death.
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