الفهرس 
BRECHTIAN TRADITIONOnly 14 pages are availabe for public view
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Abstract
The thesis consists five chapters, an introduction, and a conclusion. The first chapter is designed to be an intensive discussion of Bertolt Brecht’s life and works, his Marxist doctrine, and the assailable chasm between his theory and theatre. The second chapter is a historical background of both John Arden’s and Edward Bond’s lives and works. The third chapter is devoted to discussing the Marxist elements in John Arden and Edward Bond’s plays and their relation to Brechtian dialectical theatre. The themes of their plays are discussed in relation to two major criteria – class consciousness and dialectical materialism. The fourth chapter is an investigation of the epic aspects in the plays of John Arden and Edward Bond. The fifth chapter includes an analysis of the two dramatists’ languages and dialogues. This chapter explores some of the playwrights’ metaphorical languages such as the use of certain images and dialects, paying considerable attention to the use of poetic lines within their prose dramas. The last chapter is a conclusion where findings of the thesis are summarized, and the essential points of each chapter are recapitulated.
One of their similarities is their Marxist affiliation, irrespective of its degree. Brecht seems the most committed to Marxism among them in the sense that his plays are frequently regarded as propagandistic. Brecht, Arden and Bond believe that the corruption in human will can mainly be associated with class stratification. In order to alienate the audience they usually introduce settings which seem remote in time and place. It seems that the three dramatists resorted to poetry, song and music to enhance their dramatic content. Compared with Arden and Brecht, Bond’s song is more deliberate, more flexible and more pertinent to the development of characters and themes.