Society And Identity In American Theatre

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Society has influenced the way that a crisis with identity is pictured in a character on stage. Eugene O’Neill in The Hairy Ape has pictured one identity crisis with Yank, a working class man who works in the stokehole of a cruise liner. He struggles with finding the place where he belongs in the new industrial America. The class system at the time, as well as theories which were surfacing, have influenced how O’Neill developed Yank’s crisis on stage. Tony Kushner was writing in a completely different time in America, and his character Joe deals with a crisis about his sexuality in Angels in America. Joe is seen to deal with the social stigmas and problems to do with homosexuality at the time of the play, and his interaction with other characters gives the audience insight into his struggle. Despite the differences between the two character depictions, the post-modernist theatre of Kushner has been influenced by O’Neill’s experiments with expressionist theatre. Eugene O’Neill wrote The Hairy Ape in the early 20th century, and it premiered on stage in March of 1922. The social and economic context in which O’Neill was formulating Yank as a character plays a role in his final depiction. The end of the 19th century in America was a time of mass industrialisation, which left the working class of America distinguished from that of the business class people who did not have to sell their labour for income (Green 3). During this time there was a shift from community based economics to individualism and capitalism which changed the view of society towards the workplace (Green 8). In the beginning of the 20th century the engineer Rautenstrauch presented his concept of society functioning as a machine, and each person, or “part” (Akin 57) having its own function and therefore society working in perfect harmony (Atkin 57-58). Yank is shown as a working class part of this
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