MEG-02 Solved Assignment 2021-2022 

Title Name

MEG-02 English Solved Assignment 2021-22

Subject Name

British Drama

No.of Pages in Solution



MA(English) MEG




2021-2022 Course: MA(English) MEG



Submission Date

31st March 2022(if enrolled in the July 2021 Session) and  30th Sept 2022 (if enrolled in the January 2022 session)


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MEG-02 Solved Assignment 2021-2022


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MEG-02 Solved Assignment 2021-2022

Submission: 31st March 2022(if enrolled in the July 2021 Session) and 30th Sept, 2022 (if enrolled in the January 2022 session).

British Drama

  1. Write an essay on British Drama in the twentieth Century. 

Answer: The Irish Literary Theatre, created by William B. Yeats, Lady Gregory, and J.M. Synge, is frequently regarded for beginning twentieth-century British theatre. (1843) A Celtic and Irish environment was intended to “present the deeper emotions of Ireland,” according to the designers. (Abbey’s) W.B. Yeats, Lady Gregory, and Edward Martyn were some of the playwrights of the Irish Literary Theatre (later renamed the Abbey Theatre).Actors and directors who wanted to change the culture of the theatre by appealing to the younger, socially conscious, and politically aware audience members were replaced in England. New standards of acting were created by actors like W. Somerset Maugham (George Bernard Shaw), Harley Granville Barker (Harry Granville Barker), and John Galsworthy (W. Somerset Maugham). (Chothia)

The early twentieth century witnessed a split between ‘frocks and frills’ entertainment and serious works, as was the case in many other European nations. When these continental concepts met with the counter-cultural revolution in the late 1950s and early 1960s, English language theatre in Britain was transformed.Musical comedies and well-crafted plays dominated London’s West End, while smaller theatres and Irish venues took a different approach. It became caustic and political in tone now. Colonialism and the loss of land were examined in the new early-20th century drama’s political and philosophical topics.New political ideologies (socialism), workplace conditions, and the emergence of a repressed people were examined (women). (Chothia) As industrialization proceeded, human beings became increasingly estranged from their mechanical surroundings. Estrangement was caused by wars and industrialisation. Both styles dominated throughout the interwar period. Noel Coward and George Bernard Shaw ruled the West End. Ivor Novello and Noel Coward’s big-budget musicals at Drury Lane featured enormous sets, lavish costumes, and massive casts.” (W) A new generation of authors, filmmakers, actors, and producers developed following the wars.Some were ferociously political, while others renounced naturalism and questioned previously unassailable concepts. (Chothia) Late-century plays were dubbed ‘theatre of exorcism’ since they were used to confront and accept one’s history. To name only a few: Samuel Beckett (Harold Pinter), Andrew Lloyd Webber (Brian Friel), Caryl Churchill (Cary Churchill), Tom Stoppard (Samuel Beckett). Ending the century, Europe’s first children’s cultural centre was established.

From the mid-19th century forward, naturalism had a considerable impact on modern theatrical tradition. However, it was not the only time period that influenced how viewers thought. Never joined any colleges or theatre. His act is full of inventive comedy, emotional sadness, and imagination. His most creative and distinctive theatre is Crichton. While British dramatic language is based on real-life human dialogue, theatregoers must distinguish between dram speak and real chat. British dramatic lang is always made up and has several uses. Kitchen sink realism, a word invented to represent fiction, theatre, painting, and other play, was a significant cultural moment in the late 1950s and early 1960s. Angry gentleman was a popular moniker for this artistic trend. It employed social realism to describe social and political issues. Angry gentlemen like John Osborne’s look back in fury made the post war drawing room theatre of Noel Coward and Terence Rattigan problematic in the 1950’s. It’s 1956. As did Nell Dunn and Arnold Wesker. The post-war british play also changed the way theatre is performed. Also, changes in the way drama is written are interconnected. The growth of performing form and new fashion in play management also support the writing of immovable theatre.

Question:-02) Discuss the play within the play in A Midsummer Night’s Dream.

Answer:A Midsummer Night’s Dream was written around 1595/96. It depicts the events leading up to and following the wedding of Theseus and Hippolyta, the Duchess of Athens (the previous ruler of the Amazons). Pixies inhabit the woods where the play is set, manipulating and controlling six mechanicals (beginning actors) fascinated by their pixie-like surroundings. It is one of Shakespeare’s most performed plays.The play’s concluding demonstration, which is unrelated to the rest of the tale, reveals a classic Elizabethan stage dread, that of control. Lower artisans who wish to represent Pyramus and Thisbe constantly strive to degrade the plot and reassure the audience that they should not be concerned. The ultimate ending comes when Puck suggests that if we don’t enjoy the play, we should just dismiss it as a fantasy. Several audience members are unclear if what they’ve seen is genuine or if they’ve simply awoken from a similar dream. Shakespeare must plainly state that the performance centre is a common dream. As a result, the Pyramus and Thisbe creation will always have that dream infusion. Base and his crew give us not only Pyramus and Thisbe, but the complete play.

A Midsummer Night’s Dream is a composition composed of multiple plays. The labourers’ Pyramus and Thisbe show is the most evident, and their botched generation plays three essential parts in the greater drama. Initially, the worker’s blunders and misinterpretations establish the play’s hilarity.

Second, it allows Shakespeare to remark on the notion of workmanship and theatre, largely through the worker’s own misguided assumption that audiences will not be able to discern reality from fiction.Pyramus and Thisbe steal away from their homes for the third time in A Midsummer Night’s Dream; Hermia and Lysander do the same. Although sweethearts and Theseus criticise the workers’ ludicrous act, the crowd recognises that darlings were just as stupid.Plays inside plays aren’t new. According to the playwright, Helena obtains her affections, Lysander and Hermia stay together, Titania learns the skill of submission, and all conflicts are addressed via marriage and compromise.It’s like the workers’ play when Puck mistakenly squirts the admiring elixir into the eyes of an inappropriate Athenian man. So Oberon’s play replaces the workers’ spectacle. Despite the employees’ poor performance, Oberon’s performance shows the amphitheatre has an enchantment that defies reality.

MEG-02 Assignment Question Paper

Answer any five questions. All questions carry equal marks. Answer each question in about 350 to 400 words.
1. Write an essay on British Drama in the twentieth Century.
2. Discuss the play within the play in A Midsummer Night’s Dream.
3. To what extent does Hamlet correspond to classical or medieval notions of tragedy?
4. Can The Alchemist be understood as a satire? Give suitable examples.
5. Can Eliza in Pygmalion be termed as feminist? Elaborate.
6. Discuss the art of characterisation in The Playboy of the Western World?
7. Discuss Murder in the Cathedral as a poetic drama.
8. Comment on the historical significance of Look Back in Anger.
9. Discuss Waiting for Godot as a reflection of existential themes. 
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MEG-02 Solved Assignment 2021-2022

MEG-02 Solved Assignment 2021-2022


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