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There is a tendency to draw a distinction between commercial and non commercial drama with the implication suggested that

only in the former rea was virtue to be found As regards the achievements of the period as a whole all we can do is to draw the attention to a few general tendencies. One of these is the definite establishment of the prose realistic play, sometimes concerned with the personal realistic conceptions of characters sometimes seeking to present theatrical images of wider social forc so often with particular stress upon ideas. In saying this however it is necessary to emphasize once more that Realism in the theatre is a relative term that even nowat the time when realistic endeavour have been have bee pursuingits course though many generations there is an active debate as what the term implies. Through sixty years there have been constant efforts on the parts of many dramatists to pleadfor and to experiment in plays connstructed acordingto different patterns.The fantastic,the poetic all coexisted alongside the naturalistic and realistic and in so far as the poetic is concerned we are forced to admit that several of the dramas written in this style during recent years have come closer to genuine success. There were more imaginative dramas particularly those whohave written their dialogue in verse forms have endeavoured toloook back towards the time that honoured tagedy.But the efforts in this direction have been spoadic and uncertain.With the result that we may regard the cultivation of the middle range of drama as one of the ages charcateristics. The majority of the 20thc. dramas are called nothing but plays occasssionaly mingling together. The laughable and the serious,but mostly pursuing a path quite distinct from the tragedy's passionate intensity. Themes: Playwrighting of the time tended to cultvate two reas those of socialand sexual revolt The modern theater was established. So the ames of some plays were like The New Son ,The Younger Generation, The New Idea. The trend led towards two things. First in certain circlesthere are signs that dramatic works are being regarded as less important than the social attitude adopted by a particular author and in addition there is an inst romantic inclination to speak of plays not in terms of good or bad. But in terms of modern and od. Revolt betwenn Victorian conventions against parental authority,aginst romantic love against all sort of conditions lead towards the imploiment of shock tactics. In itself such a movement is by no means reprhensible. Yet the problem about the shock tactics is that as we proceed the shock is made greater and intensified and so over the passage of years the audience are reluctant to become familiar with the way of presenting tings upon the stage. George Bernard Shaw was startling his public by introducing the word "bloody" in his dialogue whithin recent years his success have been taking delight in