A Thousand Clowns and Who’s Afraid of Virginia Woolf
Alienation and the stress, which are characteristic of the US of the fifties, found its visible expression in the sixties in the civil rights movement, feminism, anti-war protests, and active struggle of national minorities for their rights and the emergence of the counterculture whose effects are still felt in the US society. To the 60-th year, the role of women begins to change considerably. Women, taking advantage of the emergence of a large number of jobs, and the fact that employers have to give up the preferences, which they at one time gave unmarried women and employed married women and mothers, began to work and generate income in the families.
In a play by Edward Albee's "Who's Afraid of Virginia Woolf?" it is not talked about her biography and work. However, apparently, the image of the writer was important for the American playwright. On the one hand, she is exquisitely graceful in stories and novels, on the other hand, she is strong, insightful, original critic and historian of literature in articles and essays. Finally, quite unexpectedly, she is a feminist. The latter is a paradox, especially if to remember that Virginia Woolf is an English woman, a hereditary aristocrat. In the play, there is a sense of superiority over the masculine-feminine values - the values of love, unity and self-sacrifice of ambition, success, and glory.
The family in the play is the eternal battle of the sexes, the struggle of men and women, who will never understand each other to the end, even if they have a child. In the play, this child is fictional, he rallied their strange union and after the death of a virtual child, a family stood on the brink of total collapse. (Purcell C., 2013) Martha tries to manipulate George: “Some day . . . hah! Some night . . . some stupid, liquor-ridden night . . . I will go too far . . . and I’ll either break [George]‘s back . . . or push him off for good . . . which is what I deserve.” (Albee E., p.89)
Once heard, their guest makes for a conclusion that it is necessary to continue her marriage without children, that becomes a characteristic idea for some women of the time. Albee heroes have failed in life based on their gender roles and the play shows how this quest destroyed them. March consumes strong drinkthat does not allow George to see her as a woman, she should be in accordance with stereotypes: "My God, you can swill it down, can’t you?". (Albee E., p.10)
The general meaning of the play is that a woman and a man are two poles, two worlds, two universes that cannot get along, and that can live without each other. Unmotivated encounter characters and naturalistic stage effects transmit meaninglessness of modern life in Albee's play.
In the play “A Thousand Clowns”, 12-year-old Nick lives in a studio apartment with his uncle Murray, unemployed writer. The workers from child welfare agency, experienced Albert Amundson and Sandra Markowitz ,only recently graduated from a college of the psychologist, comes to them to deprive Murray his parental rights, as urged by Amundson. However, Sandra, who has not seen in the behavior of Burns Sr. anything inappropriate, refuses to do so and still wanting to give the hero a chance to keep custody of Nick. They tied relationship. Sandra Murray admits he does not want to lose the boy and discovers that there is a chance to change everything. He finds a job and the family stays together. Sandra played an important role in this, influencing the actions of Murray and helped him to understand that it is important for her nephew.
Sandra appears not only as a woman but as a worker who knows his business: “Aside, to Albert, somewhat annoyed with him.) Albert, if you’ll just let me handle this area.” (Gardner H, p.22) However, in this situation, Sandra manifested a desire to have a family, despite the fact that she is a successful and independent young woman having a job. (Greenberg G.)
Sandra drastically changes the life of Murray, distinguished herself as a strong woman: “Murray, there's some things you could try to do - to make your case a little strong”. (Gardner H, p.36) Like many of her contemporaries' of the 60s, she manifests herself not only as a mother and wife but also as a full-fledged member of society.
The main content of the plays of both playwrights is reduced to a demonstration the alienation of man in all their diversity in modern society and attempts to overcome it. Social reality in most cases has extremely vague outlines and is manifested primarily through the psychology of the characters.
Both playwrights in their plays create a symbolic image of their time and their generation, including the role of women in the time. Especially important was the formation of women as full-fledged members of society who can work and self-actualize themselves as men. However, along with these changes, the example of the heroines of the plays, it can be seen that in the new environment they continue to perform the place of wives and mothers, ordinary women.
Albee creates an image of a woman by limiting the meaningfulness of the art form, whose main task is the creation of the author's model of reality, Gardner - by exposure to his characters feelings, desires, and doubts inherent in the people of his time.
Works Cited
Albee, E. Who's Afraid of Virginia Woolf. Dramatists Play Service Inc.
Gardner, H. A Thousand Clowns. Samuel French.
Greenberg, G. A Thousand Clowns. Aislesay.com. Web.
Purcell, C. Who’s Afraid of Virginia Woolf?: A Feminist Response to the 50th Anniversary. TheHuffingtonPost.com. 2013. Web.
