Glass Menagerie & a Doll's House
Although both Ibsen and Williams wrote of separate themes for their plays, they both outlaid the concept of "correcting a flawed societal system". The approaches to these reforms differ from one character to another. For instance, Nora plays her own cards to eventually take a stance while Amanda is the cause for variable surrounding cards to alter. Nonetheless, the most important approaches are those of Drama that are underlined according to time and point of view.
The type of drama in each of the plays affects their distinct outcomes and tracks of direction. Since each play is treated differently in that sense, it would be wise to address the plays separately. A doll's house is written through the drama of "realism" which generally follows that time's cultivation of socio-comments in plays. The statement Ibsen is making is that of women's realization of their independency in a way that Nora is representative of all sets and states of women. So, although Nora's meager role in society, the Helmer household, serves as an essential focus, it is her actions that are followed all along. The decisions she takes that lead to the play's inconclusiveness that lead to the questioning of a moral code become criticisms towards the playwright. It is his perspective that is dominant and affecting meanings into the play. In return, the audience sees the play through this narrow perspective.
On the other hand, The glass menagerie finds deeper approaches to sociology through meticulously characterizing its characters. The use of "surrealism" here, a successor of the realism approach, can be spotted in a series of occurrences and psychological deformities (not necessarily deformities) that act simultaneously. The desired outcome is inextricably linked to those factors. As such, Laura's physical predicament placed in an environment lacking patriarchal support and run by a south-dreaming mother probably explains her shyness and obsession with the glass menagerie. Readers have
The type of drama in each of the plays affects their distinct outcomes and tracks of direction. Since each play is treated differently in that sense, it would be wise to address the plays separately. A doll's house is written through the drama of "realism" which generally follows that time's cultivation of socio-comments in plays. The statement Ibsen is making is that of women's realization of their independency in a way that Nora is representative of all sets and states of women. So, although Nora's meager role in society, the Helmer household, serves as an essential focus, it is her actions that are followed all along. The decisions she takes that lead to the play's inconclusiveness that lead to the questioning of a moral code become criticisms towards the playwright. It is his perspective that is dominant and affecting meanings into the play. In return, the audience sees the play through this narrow perspective.
On the other hand, The glass menagerie finds deeper approaches to sociology through meticulously characterizing its characters. The use of "surrealism" here, a successor of the realism approach, can be spotted in a series of occurrences and psychological deformities (not necessarily deformities) that act simultaneously. The desired outcome is inextricably linked to those factors. As such, Laura's physical predicament placed in an environment lacking patriarchal support and run by a south-dreaming mother probably explains her shyness and obsession with the glass menagerie. Readers have