IGNOU MEG 17 Free Solved Assignment 2022-23

IGNOU MEG 17 Free Solved Assignment 2022-23, IGNOU MEG 17 AMERICAN DRAMA Free Solved Assignment 2022-23 If you are interested in pursuing a course in radio production and direction, IGNOU MEG 16 can be an excellent choice. In this article, we will take a closer look at what IGNOU MEG 16 is all about and what you can expect to learn from this course.

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IGNOU MEG 17 Free Solved Assignment 2022-23 is a course offered by the Indira Gandhi National Open University (IGNOU) under the School of Journalism and New Media Studies. As the name suggests, it is a course on “Production and Direction for Radio.” The course is designed to provide students with a comprehensive understanding of radio production and direction and covers various topics related to this field.
IGNOU MEG 17 Free Solved Assignment 2022-23

IGNOU MEG 17 Free Solved Assignment 2022-23

Q1. Discuss Eugene O’Neill’s contribution to modern American Drama.

Eugene O’Neill is widely regarded as one of the most significant playwrights in American history, and his contribution to modern American drama is immense. His work fundamentally altered the course of American theater and influenced generations of writers who followed him.

O’Neill’s impact on American drama can be seen in several ways. First, he introduced a new level of psychological depth to characters and a more serious examination of social issues. His plays often featured complex characters struggling with internal conflicts, and he explored themes such as addiction, family dysfunction, and the search for identity.

One of his most famous plays, “Long Day’s Journey Into Night,” is a powerful portrayal of a dysfunctional family struggling with addiction and unfulfilled dreams. The play is a masterpiece of modern drama, known for its psychological complexity and deeply moving portrayal of human suffering.

Second, O’Neill broke with the traditional, melodramatic style of playwriting that had dominated American theater in the late 19th and early 20th centuries. He developed a new form of drama that focused on realism and naturalism, portraying life as it is, rather than how it ought to be. His plays were characterized by a naturalistic dialogue, which gave audiences the feeling of eavesdropping on real conversations.

Finally, O’Neill’s work had a profound influence on later playwrights, including Tennessee Williams, Arthur Miller, and Edward Albee, among others. He paved the way for a new generation of writers who were more interested in exploring the human condition and social issues, rather than simply entertaining audiences.

In conclusion, Eugene O’Neill’s contribution to modern American drama is immeasurable. He transformed the American theater by introducing a new level of psychological depth and realism, and his influence can be seen in the work of countless playwrights who followed him. He remains one of the most important figures in American theater history and a towering figure in the canon of American literature.

Q2. What is Black Musical?

The term “Black Musical” can refer to a few different things, so I’ll provide a few possible explanations:

  • Black musicals as a genre: “Black musicals” is a term that has been used to describe musicals that are written by, performed by, or primarily feature Black artists and characters. This can include shows like “The Wiz,” “Dreamgirls,” and “Hamilton,” which have been celebrated for their contributions to musical theater and popular culture.
  • The role of music in Black culture: The term “Black musical” can also be used to refer to the important role that music has played in Black culture and history. From spirituals and gospel music to jazz, blues, and hip-hop, music has been a powerful way for Black people to express themselves, connect with others, and resist oppression.
  • The history of Black performers in musical theater: Finally, “Black musical” can refer to the history of Black performers in musical theater. From the early days of vaudeville and minstrel shows to the present day, Black performers have faced significant barriers and discrimination in the industry. Despite these challenges, many Black performers have made important contributions to musical theater and popular culture.

Q3. Narrate the classical background to the study of Musical Theatre?

The roots of musical theatre can be traced back to the ancient Greeks and their tradition of combining music, dance, and drama in their theatrical performances. In fact, many of the conventions of modern musical theatre, such as the use of chorus and the incorporation of music and dance into dramatic works, can be traced back to the ancient Greek theatre.

During the Middle Ages, theatre became a part of religious ceremonies and pageants, with music and dance playing an important role in these performances. It wasn’t until the Renaissance that theatre began to evolve into a more secular form of entertainment, with plays and musical works being performed in public theaters.

The musical theatre as we know it today, however, developed in the 19th century, with the emergence of the operetta and the musical comedy. The operetta was a light-hearted form of musical theatre that originated in Europe and featured catchy tunes, comic situations, and romantic plots. The musical comedy, on the other hand, emerged in America and combined elements of vaudeville, burlesque, and comic opera.

The early 20th century saw the rise of the American musical, with composers such as George Gershwin, Richard Rodgers, and Jerome Kern creating works that blended popular music with elements of classical music and jazz. These musicals, such as “Show Boat” and “Oklahoma!”, were the forerunners of the modern musical and paved the way for the Golden Age of musical theatre in the 1940s and 1950s.

During this period, composers such as Irving Berlin, Cole Porter, and Frank Loesser created some of the most enduring works in the musical theatre canon, including “Annie Get Your Gun”, “Kiss Me, Kate”, and “Guys and Dolls”. These works combined catchy tunes, witty lyrics, and engaging characters to create timeless classics that continue to be performed and enjoyed today.

In the latter half of the 20th century, musical theatre continued to evolve, with composers such as Stephen Sondheim and Andrew Lloyd Webber creating works that challenged traditional musical theatre conventions and pushed the boundaries of the form. Today, musical theatre remains a vibrant and popular art form, with new works being created and performed all over the world.

Q4. Do you agree that “After Blenheim” is an anti-war text? What answer do you give in
your defense?

“As an AI language model, I do not hold opinions or beliefs, but I can provide an analysis of the text “After Blenheim” by Robert Southey and offer arguments to support both sides of the debate on whether it is an anti-war text or not.

“On one hand, it is possible to argue that “After Blenheim” is an anti-war text because it highlights the devastating impact of war on ordinary people. The poem describes how the villagers are gathered together to celebrate the victory at the Battle of Blenheim, but they are unaware of the reasons for the war or the enormous human cost involved. The speaker’s description of the aftermath of the battle, with the dead bodies of soldiers and horses scattered across the landscape, is a powerful condemnation of the horrors of war. The final stanza of the poem also reinforces this message, with the speaker asking whether it was worth sacrificing so many lives for a victory that had little practical effect.

“On the other hand, some readers might argue that “After Blenheim” is not an anti-war text because it does not explicitly call for an end to war or question the necessity of armed conflict. Instead, the poem presents war as a historical fact that has already taken place, and its focus is on the ignorance and apathy of the villagers rather than the broader political or moral issues surrounding war.

“In summary, the interpretation of “After Blenheim” as an anti-war text or not can be debated. Ultimately, it is up to the individual reader to form their own opinion based on their understanding of the poem and its context.”

Q5. Discuss A Raisin in the Sun as a Marxist play.

A Raisin in the Sun is a play written by Lorraine Hansberry that explores the lives of an African American family living in Chicago’s South Side in the 1950s. The play delves into themes of racism, poverty, and the American Dream. While the play has been interpreted in many different ways, one lens through which it can be analyzed is as a Marxist play.

Marxism is a social, political, and economic theory that emphasizes the struggle between the ruling class and the working class. It views the capitalist system as exploitative and oppressive, with the ruling class benefiting at the expense of the working class. A Marxist reading of A Raisin in the Sun highlights the play’s themes of class struggle and economic inequality.

The play follows the Younger family, who are struggling to make ends meet. They live in a cramped apartment and dream of owning a home. The family receives a $10,000 life insurance check after the death of the patriarch, and they all have different ideas about how to spend the money. Mama, the matriarch of the family, wants to use the money to buy a house in a better neighborhood, while her son Walter wants to invest it in a business venture.

The conflict between Mama and Walter can be seen as a class struggle between the working class and the capitalist class. Mama represents the working class, who wants to use the money to improve their living conditions, while Walter represents the capitalist class, who wants to use the money to invest in a business venture that could potentially lead to wealth and success. Walter’s desire to start a business reflects the capitalist ideology of individual success through hard work and entrepreneurship.

The play also touches on issues of racial discrimination and economic inequality. The Younger family’s struggle to find suitable housing is an example of the discrimination and segregation that African Americans faced in the 1950s. The play also highlights the economic inequality that exists between African Americans and white Americans. The characters in the play are all working-class, and they struggle to make ends meet while dreaming of a better life. Their economic struggles are compounded by racism and discrimination.

In conclusion, A Raisin in the Sun can be analyzed as a Marxist play because it deals with issues of class struggle, economic inequality, and the capitalist system. The play highlights the struggle of working-class African Americans to achieve the American Dream and the obstacles they face due to racism and discrimination. By examining the play through a Marxist lens, we can gain a deeper understanding of the social and economic issues that were prevalent during the time it was written and how they continue to impact our society today.

Q6. Is The Family Reunion a modernist Drama? Discuss

The Family Reunion is a play written by T. S. Eliot, which was first performed in 1939. Eliot is considered one of the most important modernist writers of the 20th century, and many of his works, including The Waste Land and Four Quartets, are considered modernist masterpieces.

In terms of its style and themes, The Family Reunion can certainly be seen as a modernist drama. The play features a fragmented narrative structure and explores complex psychological and philosophical themes, both of which are hallmarks of modernist literature.

Additionally, The Family Reunion also engages with many of the key concerns of modernist writers, including the breakdown of traditional values, the fragmentation of modern society, and the search for meaning and purpose in a rapidly changing world.

Overall, while there may be some debate about whether The Family Reunion fits neatly within the category of modernist drama, it is certainly a work that engages with many of the key themes and concerns of the modernist movement.

Q7. Discuss the technique of Expressionism in American Drama.

Expressionism was a theatrical movement that emerged in Germany in the early 20th century, which sought to express the inner experiences and emotions of characters through distorted and exaggerated forms. This style of drama soon spread to other countries, including the United States, where it had a significant impact on American theater.

In American drama, expressionism was most prominent in the 1920s and 1930s, a time of social and economic upheaval. American expressionist plays often dealt with the darker aspects of life, such as poverty, addiction, and mental illness, and used exaggerated techniques to convey the characters’ inner turmoil.

One of the most significant American expressionist plays is Eugene O’Neill’s “The Hairy Ape” (1922), which tells the story of a brutish laborer named Yank who feels alienated from society. The play uses stark, industrial settings, exaggerated movements and dialogue, and a fragmented structure to convey Yank’s inner sense of dislocation and despair.

Another notable American expressionist play is Elmer Rice’s “The Adding Machine” (1923), which depicts the dehumanizing effects of technology and bureaucracy. The play uses a variety of techniques, including surreal imagery, rapid scene changes, and stylized acting, to create a nightmarish atmosphere that reflects the protagonist’s sense of isolation and alienation.

Other notable American expressionist playwrights include Sophie Treadwell, whose play “Machinal” (1928) explores the oppression of women in society, and Tennessee Williams, whose early works, such as “Battle of Angels” (1940), make use of expressionistic techniques.

Overall, expressionism was an important and influential movement in American drama, which allowed playwrights to explore complex psychological and social issues through the use of exaggerated forms and techniques. Its legacy can still be seen in contemporary theater, particularly in experimental and avant-garde productions.

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