•  There is a tendency to draw a distinction between commercial and noncommercial drama with the implication suggested that only in the former áreawas virtue to be found

•  As regards the achievements of the period as a whole all we can do is to drawthe attention to a few general tendencies.

•  One of these is the definite establishment of the prose realistic play, sometimesconcerned with the personal realistic conceptions of characters sometimesseeking to present theatrical images of wider social forcé so often with particular stress upon ideas.

•  In saying this however it is necessary to emphasize once more that Realism inthe theatre is a relative term that even nowat the time when realistic endeavour have been have bee pursuingits course though many generations there is anactive debate as what the term implies.

•  Through sixty years there have been constant efforts on the parts of manydramatists to pleadfor and to experiment in plays connstructed acordingtodifferent patterns.The fantastic,the poetic all coexisted alongside the naturalisticand realistic and in so far as the poetic is concerned we are forced to admit thatseveral 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 thathonoured tagedy.But the efforts in this direction have been spoadic anduncertain.With the result that we may regard the cultivation of the middle rangeof drama as one of the ages charcateristics.

•  The majority of the 20thc. dramas are called nothing but plays occasssionalymingling together. The laughable and the serious,but mostly pursuing a pathquite distinct from the tragedy's passionate intensity.

•  Themes: Playwrighting of the time tended to cultívate two áreas those of socialand sexual revolt The modern theater was established. So the ñames 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 thatdramatic works are being regarded as less important than the social attitudeadopted by a particular author and in addition there is an inst romanticinclination to speak of plays not in terms of good or bad. But in terms of modernand oíd.

•  Revolt betwenn Victorian conventions against parental authority,aginst romanticlove 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 aboutthe shock tactics is that as we proceed the shock is made greater and intensifiedand 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