How The Past is Illustrated in The 20th Century Drama

George Santayana’s well-known saying, “Those who cannot remember the past are condemned to repeat it,” has become a staple in both political rhetoric and academic discourse. Despite its cliché status, the truth behind this statement remains significant, especially in the context of American drama from the last quarter of the twentieth century. Playwrights during this era, particularly those associated with postmodernism, demonstrated a keen awareness of the interplay between history and memory in their works. Unlike their modernist predecessors, who sought to transcend earlier artistic movements, postmodern playwrights embraced their influences, incorporating historical themes and reinterpretations into their narratives. They understood that in order to navigate the complexities of contemporary life, one must first grapple with the lessons of the past. However, they also recognized the dangers of nostalgia, which can distort one’s perception of reality. This exploration of history is vividly illustrated in David Mamet’s *Glengarry Glen Ross*, Tony Kushner’s *Angels in America*, and Suzan-Lori Parks’s *Topdog/Underdog*. While these plays resist strict categorization as postmodern, their characters embody a nuanced understanding of history, often manipulating their recollections to create more favorable self-images. Lincoln’s reflection in *Topdog/Underdog* encapsulates this sentiment: “People like they historical shit in a certain way. They like it to unfold the way they folded it up. Neatly like a book. Not raggedy and bloody and screaming.” Ultimately, these plays convey the message that while history is malleable, it is inescapable.

**The Role of Nostalgia in *Glengarry Glen Ross***

In Mamet’s *Glengarry Glen Ross*, the character Shelly Levene embodies a nostalgic longing for his past successes as a salesman. At the beginning of the play, Levene, now older and struggling, attempts to leverage his former glory to regain respect and access to better sales leads. He recalls his past sales figures, believing they reflect his current abilities: “April, September 1981. It’s me,” he insists, asserting, “It wasn’t luck. It was skill” (Mamet, 17-18). This reliance on nostalgia reveals Levene’s inability to adapt to the present reality, where age has rendered him obsolete in the cutthroat sales environment. His anachronistic view of his past leads him to commit unethical acts, such as stealing leads, ultimately resulting in his downfall.

**Historical Context in *Angels in America***

Kushner’s *Angels in America: Millennium Approaches*, first staged in 1991, is steeped in historical significance, particularly regarding the AIDS crisis during the Reagan era. The play incorporates real historical figures, such as Roy Cohn and Ethel Rosenberg, to underscore the impact of the 1980s on the gay community. Through characters like Roy, Kushner explores the denial of personal history and its consequences. Roy’s refusal to accept his homosexuality stems from a fear of tarnishing his legacy: “To someone who doesn't understand this, homosexual is what I am because I sleep with men, but this is wrong” (Kushner, 51). This denial and distortion of identity highlight the struggles faced by individuals grappling with societal perceptions. Furthermore, the ghost of Ethel Rosenberg serves as a haunting reminder of the inescapable nature of the past, reinforcing the idea that history cannot be rewritten without consequence.

**Interpreting Personal Histories in *Topdog/Underdog***

Parks’s *Topdog/Underdog* focuses on the complex relationship between two African-American brothers, Lincoln and Booth. The significance of their names, referencing Abraham Lincoln and John Wilkes Booth, serves as a poignant reminder of American history. Throughout the play, Lincoln grapples with his past as he attempts to move forward from a life of hustling. However, his eventual return to the card game signifies a cyclical repetition of history. Booth, on the other hand, actively seeks to reshape his understanding of their shared past. Their differing interpretations of parental abandonment illustrate how individuals construct their identities based on personal histories. Lincoln’s acknowledgment of their parents’ neglect contrasts sharply with Booth’s insistence on a more positive interpretation, highlighting the subjective nature of memory.

**The Complicated Relationship with History**

The relationship between individuals and their histories is multifaceted and often fraught with tension. The characters in these three plays demonstrate a range of responses to their pasts, from nostalgic longing to outright denial. The following list outlines some key themes related to how the past is illustrated in these works:

• Nostalgia and Its Dangers: Characters often romanticize their pasts, leading to detrimental decisions in the present.
• Historical Context: The plays reflect significant historical events, illustrating how they shape individual identities and societal perceptions.
• Subjective Memory: Different characters interpret the same events in contrasting ways, showcasing the fluidity of personal history.
• Inescapability of the Past: Despite attempts to rewrite or ignore history, characters find themselves haunted by their pasts.

**Conclusion**

In summary, the exploration of history in twentieth-century drama reveals a complex interplay between memory, identity, and societal context. The characters in Mamet’s *Glengarry Glen Ross*, Kushner’s *Angels in America*, and Parks’s *Topdog/Underdog* illustrate the ways in which individuals grapple with their pasts, often distorting or romanticizing them to cope with their present realities. Ultimately, these works convey the essential truth that while the past may be shaped by individual interpretations, it remains an inescapable force that profoundly influences the present and future.

**References**

Mamet, David. *Glengarry Glen Ross*. Dramatists Play Service, 1984.

Kushner, Tony. *Angels in America: Millennium Approaches*. Theatre Communications Group, 1993.

Parks, Suzan-Lori. *Topdog/Underdog*. Theatre Communications Group, 2001.