ABASTRACT

A new generation of writers emerged and experimented about the forms and aims of new   drama. The desire was to create dramas that would stand in the vanguard of political and social change. Their plays reflected a profound disquietness about the current state of nature. Like the previous dramatic revival the new drama developed as a part of what can easily been seen as a cultural crisis; but unlike it, challenge to mainstream theatre was for more widespread and for sustenance. Major new writings in two London theatres, Royal Court and Theatre Royal were present for the potential immediacy of new drama and able to present an enactment of a particular situation to an identifiable audience. Traditional arenas were passed over in favor of new arts labs, community centers, working men’s clubs etc.  Anywhere this facilitated a readily accessible performance that was in vague. The evolution of theatre censorship in 1968, itself was product of struggle of the previous generation of writers in different ways particularly in their traditional climate. This helped to facilitate a group of writers and actors working together to furnish the demands created by social and political issues. This was not only the difference; however new writers of twentieth century particularly, Arden produced a real theatre; different from the traditional by a well produced plays. Their political protest contained within existing theatrical modals. Their characters proclaimed a refreshingly abrasive form of Traditional arenas. Arden remains vehement to the theatre for perpetual challenges and inspirations. They came to maturity at a profoundly dramatic time in British social and political life.