الفهرس 
Chapter One: IntroductoryOnly 14 pages are availabe for public view
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Abstract
The thesis traces the development of the comic technique in three of
Alan Ayckbourn’s plays; Relatively Speaking (1967), Sisterly Feelings
(1979) and Comic Potential (1998). It demonstrates the aspects of
traditionalism and innovation (being an offshoot of modernism), while
analyzing each of the three plays. Amongst the fundamental aspects of
modernism, the study gives theatricality (i.e. theatrical experimentation) a
special focus. Relatively Speaking is a bare example of Ayckbourn’s
adherence to the traditional techniques of comedy and the form of the
well-made play; at the same time it is the turning point in his early career.
Sisterly Feelings illustrates Ayckbourn’s technical and structural
innovation whilst Comic Potential is the kind of a play in which both
traditionalism and innovation are mixed together.
Alan Ayckbourn (1939- ) is a British playwright, director and actor.
He only writes comedy though most of his plays have a dark side. He is
very successful commercially. He wrote about sixty plays so far. He
almost produces a new play every year. His plays have been translated
into about thirty languages and are performed regularly all over the
world. So they are believed to be the most performed after Shakespeare’s.
As many other cases, the aspects of both traditionalism and innovation
(being an offshoot of modernism) could be traced in Ayckbourn’s plays.
However, what makes him special is that whenever he adheres to either
of the sides, he tackles the techniques of comedy in a remarkable way.
Following is a reconsideration of traditionalism and innovation (or
modernism) in general, then of those as related to literature and drama,
and to Ayckbourn’s plays: Relatively Speaking (1967), Sisterly Feelings
(1979), and Comic Potential (1998) in particular.
2
It is important to clarify the meaning of the word ”tradition” first.
A tradition can generally be defined as a ritual, a belief or an object
which is passed down from one generation to another through custom and
practice. The lexical meaning of the word ”tradition” itself is derived
from the Latin ”traditio”, the noun from the verb ”tradere” or ”traderer”
that means to transmit or to hand over (Pearsall 1964). According to The
Penguin Dictionary of Literary Terms and Literary Theory the word
tradition ”denotes the inherited past which is available for the writer to
study and learn from”, that includes ”the writer’s native language, literary
forms, codes, devices, conventions... and various cultures from the past”
(Cuddon 925).
Nevertheless, it is not so easy to give the word ”traditionalism” just
one specific definition. One reason is that it is often engaged with many
concepts, and may be used alternatively with others. For instance, it is not
clearly distinct from fundamentalism and communalism. The three words
are often used as synonymous, though they have different meanings and
implications (Fundamentalism: online source). It is even harder to give
it one exact date for its beginning as a literary movement or as a school of
thought. This may be attributed to several reasons; one of them is that
”Traditionalism” has emerged many times in many countries, each time
with different circumstances and connotations. Another reason is that
”Traditionalism”, particularly in its artistic context, is considered by some
critics and writers to be a feature of some literary movements, rather than
a literary movement by itself (Religioscope: online source). In other
words, one can claim that traditionalism may be regarded by many critics
as a stage that most writers or artists are supposed to go through.