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Role Of Drama In Drama

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Research problem and question:
Dealing with Orient characters in English drama as reflection of the political situation in England during the renaissance era makes many critics think that what comes after this age is a continuation of the enterprise of the Empire. Despite the imperialism that the political situation has created in Elizabethan and Jacobean drama, we could also add that political situation played a significant role in shaping the drama in restoration era.
The discourse in restoration drama has an extreme change and has not followed the discourse of the renaissance drama. In Shakespeare's The Tempest when Prospero told Miranda to go to the Orient character Caliban she tried to escape "'Tis a villain, sir, I do not love to look
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This study brings into our minds a set of question that the research will try answer to reach the conclusion it seeks, and some of these questions are: how does the authors use their characters to convey their messages to the audience? How does the playwright portray his Eastern (Orient) character? How does the play reflect the political situation of its age? Did the writers succeed in passing their ideology to their audience?
In short, this research aims to deconstruct the stereotypical assumption about the Restoration era as a continuation of the Renaissance age or as Hussein AlHawamdeh comments that "I think their [some of critics he mentions in his dissertation] analysis of Restoration drama as a continuation of the Renaissance anxiety, … is problematic" (Alhawamdeh, 7).
What I am going to emphasize in this research is that the restoration drama is unique in itself, and it is not a continuation of the renaissance drama. Another thing, Dryden and Davenant when they adapted Shakespeare's plays, they used a discourse that fits the political situation of their age, by adapting plays written by a well-known playwright like Shakespeare they make it easier for them to get into the mind of the audience to convey their message of peace
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As mentioned, this research focuses on the Orient characters in Restoration and Renaissance drama, especially woman characters whom recognized as traitorous and lust in the masculine community as in Shakespeare's Troilus and Cressida and Antony and Cleopatra and as virtuous and honorable human beings in Dryden's Troilus and Cressida and All for Love.
This research will take as a case of study two Shakespearian plays which deal with oriental characters, and the adaptation of those plays written by John Dryden, which will open the way to proof reading of those plays to repeal the truth about this ignorant period, which in many cases was included and is dealt with as a continuation of the previous era. My thesis will study Shakespeare's The Tempest and Antony and Cleopatra, and on the other side, is the adaptation of those plays by John Dryden The Tempest or The Enchanted Isle and All for Love

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