| "The Prodigal Cycle" is a new paradigm that applies the theological concepts of nature and grace to play structure. This dissertation investigates these two concepts and provides a new analytical model, demonstrating how nature is made manifest in tragedy, grace is made manifest in comedy, and nature and grace are both present in tragicomedy. The study consists of an introduction to the paradigm, in which each genre is discussed, as well as a creative component illustrating the paradigm in my own playwriting.; Part One includes an introduction and one chapter. I begin with an exploration of nature and grace, defining my usage of the concepts. I then discuss "conventional" playwriting, as well my understanding of tragedy, comedy, and tragicomedy. Chapter One explores the relationship between tragedy and comedy demonstrated in models from Northrop Frye, Joseph Campbell, and Walter Kerr. The chapter concludes with a detailed discussion of "The Prodigal Cycle," and six plays provide examples of the model. Antigone and Glengarry Glen Ross demonstrate nature in tragedy, Twelfth Night and The Importance of Being Earnest demonstrate grace in comedy, and The Cherry Orchard and Waiting for Godot provide examples of nature and grace.; Part Two consists of three original plays. Chapter Two includes Full Rut, a tragedy written during the development of the model. The preface discusses how this play helped in the paradigm's formation, as well as how the paradigm, once realized, affected the rewriting process. Chapter Three includes Lovetown, a comedy written after the research's completion. Its preface investigates the tension between the creative process vis-a-vis my use of the paradigm. Chapter Four includes Last of the Southern Comforts, a tragicomedy written before the study began, and this preface offers evidence that the paradigm has existed within my work for some time. Chapter Five considers the paradigm's value for other playwrights. |
