The Waste Land: Potential Drama, Persistent Poetry

  1. Dídac Llorens-Cubedo 1
  1. 1 UNED (España)
Revista:
Revista Canaria de Estudios Ingleses

ISSN: 0211-5913

Año de publicación: 2022

Número: 85

Páginas: 67-83

Tipo: Artículo

DOI: 10.25145/J.RECAESIN.2022.85.05 DIALNET GOOGLE SCHOLAR lock_openRIULL editor

Otras publicaciones en: Revista Canaria de Estudios Ingleses

Resumen

Late in his career, when he was fully devoted to dramatic writing, T.S. Eliot made the provocative statement that his early poetry was “striving ... toward the condition of drama.” This paper examines dramatic elements in The Waste Land (1922): scenes, voices/characters, and dialogue. In analysing the poem as a proto-dramatic text, it also considers Eliot’s future career as a dramatist (mid-1930s-late 1950s), as well as his contemporary essays on drama, and the unfinished play Sweeney Agonistes (1926-1927). Finally, this study explores the pervading presence of “Waste Land” imagery, moods, and diction in Eliot’s later plays. The dramatic quality of The Waste Land prefigures the plays, while these –as modern verse drama– hark back to the poem.

Referencias bibliográficas

  • Allfree, Claire. 2022. “Deborah Warner Interview: ‘We need another Beckett to shake up theatre.’” The Telegraph, April 22, 2022. https://www.telegraph.co.uk/theatre/what-to-see/deborahwarner-interview-need-another-beckett-shake-theatre/?fr=operanews.
  • Baldick, Chris. 1990. The Concise Oxford Dictionary of Literary Terms. Oxford: Oxford University Press.
  • Chinitz, David. 2003. T.S. Eliot and the Cultural Divide. Chicago and London: University of Chicago Press.
  • Domig, Christopher. 2013. “The Waste Land: An Installation/Performance by a Poet, Painter and Actor.” Vimeo. Video, 52: 49. https://vimeo.com/78926824.
  • Eliot, T.S. 1934. The Rock. New York: Harcourt Brace and Company.
  • Eliot, T.S. 2004. The Complete Poems and Plays. London: Faber and Faber.
  • Eliot, T.S. 2014a. “A Dialogue on Dramatic Poetry.” In The Perfect Critic 1919-1926, edited by Anthony Cuda and Ronald Schuchard, 396-412. Vol. 2 of The Complete Prose of T.S. Eliot: The Critical Edition. Baltimore: Johns Hopkins University Press and Faber and Faber.
  • Eliot, T.S. 2014b. “The Poetic Drama.” In Eliot 2014a, 240-243.
  • Eliot, T.S. 2014c. “The Possibility of a Poetic Drama.” In Eliot 2014a, 278-285.
  • Eliot, T.S. 2014d. “‘Rhetoric’ and Poetic Drama.” In Eliot 2014a, 83-91.
  • Eliot, T.S. 2015. The Poems of T.S. Eliot. Volume I: Collected and Uncollected Poems. Edited by Christopher Ricks and Jim McCue. Baltimore: Johns Hopkins University Press.
  • Eliot, T.S. 2019a. “Greeting to the Staatstheater Kassel.” In Still and Still Moving 1954-1965, edited by Jewel Spears Brooker and Ronald Schuchard, 367-369. Vol. 8 of The Complete Prose of T.S.
  • Eliot: The Critical Edition. Baltimore: Johns Hopkins University Press and Faber and Faber.
  • Eliot, T.S. 2019b. “The Three Voices of Poetry.” In A European Society 1947-1953, edited by Jewel Spears Brooker and Ronald Schuchard, 817-833. Vol. 7 of The Complete Prose of T.S. Eliot: The Critical Edition. Baltimore: Johns Hopkins University Press and Faber and Faber.
  • Eliot, T.S. 2022. “Sweeney Agonistes: Fragments of an Aristophanic Melodrama.” Performed by Stage Sixty Theatre Club, recorded 13 June 1965. YouTube. Video, 23: 59. https://www.youtube. com/watch?v=M_yaqANQDt4.
  • Eliot, Valerie, ed. 2010. The Waste Land. A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. London: Faber and Faber.
  • Hammond, Adam. N.d. “Eliot, Voices, and Drama.” He Do the Police in Different Voices, accessed September 2, 2022, http://hedothepolice.org/about/eliotvoicesanddrama.html.
  • Hughes, Ted. 1992. A Dancer to God. Tributes to T.S. Eliot. London: Faber and Faber. Google Books. https://books.google.com/.
  • Jones, D.E. 1960. The Plays of T.S. Eliot. London: Routledge & Kegan Paul.
  • Levenson, Michael. 2015. “Form, Voice, and the Avant-Garde.” In The Cambridge Companion to “The Waste Land,” edited by Gabrielle MacIntire, 87-101. Cambridge: Cambridge University Press.
  • Mayer, John T. 1989. T.S. Eliot’s Silent Voices. New York and Oxford: Oxford University Press.
  • Perales, Liz. 2010. “Deborah Warner: ‘El deseo de contar con un material excitante para el teatro me llevó a Eliot.’” El Cultural, June 4, 2010. https://elcultural.com/Deborah-Warner-Eldeseo-de-contar-con-un-material-excitante-para-el-teatro-me-llevo-a-Eliot.
  • Probstein, Ian. 2008. “The Waste Land as a Human Drama Revealed by Eliot’s Dialogic Imagination.” In Dialogism and Lyric Self-Fashioning, edited by Jacob Blevins, 180-203. Selinsgrove: Susquehanna University Press.
  • Query, Patrick. 2015. “The Waste Land: A Performance/Installation: A Painter, an Actor, a Poem, at the Nineteen Annual New York International Fringe Festival,” review. Time Present. The Newsletter of the T.S. Eliot Society 87: 8, 13.
  • Ricks, Christopher, and Jim McCue, eds. 2015. “Commentary.” In The Annotated Text. The Poems of T.S. Eliot, 349-1228. 2 vols. London: Faber and Faber.
Fuente de los datos: Dialnet