The problem play is a form of drama that emerged during the 19th century as part of the wider movement of realism in the arts. It deals with contentious social issues through debates between the characters on stage, who typically represent conflicting points of view within a realistic social context.
The critic F. S. Boas adapted the term to characterise certain plays by Shakespeare that he considered to have characteristics similar to Ibsen's 19th-century problem plays. Boas's term caught on, and Measure for Measure, The Merchant of Venice, Timon of Athens, Troilus and Cressida, and All's Well That Ends Well are still referred to as "Shakespeare's problem plays". As a result, the term is used more broadly and retrospectively to describe pre-19th-century, tragicomic dramas that do not fit easily into the classical generic distinction between comedy and tragedy.
Read more about Problem Play: 19th-century Drama
Famous quotes containing the words problem and/or play:
“The problem of the twentieth century is the problem of the color-line—the relation of the darker to the lighter races of men in Asia and Africa, in America and the islands of the sea. It was a phase of this problem that caused the Civil War.”
—W.E.B. (William Edward Burghardt)
“Many a play is like a painted backdrop, something to be looked at from the front. An Ibsen play is like a black forest, something you can enter, something you can walk about in. There you can lose yourself: you can lose yourself. And once inside, you find such wonderful glades, such beautiful, sunlit places.”
—Minnie Maddern Fiske (1865–1932)