Contents Introduction chapter The dramatic life of England in the late XIX early XX centuries

Conclusion
In this course work on the topic "Problems of modern English drama in the late XIX - XX centuries" the following is done:
1. The most acute problems in the works of playwrights are revealed depending on the period of the writer's creative activity. The history of English drama in the late 19th and 20th centuries is closely connected with the political trends that arose in the life of the country. The themes and problems directly depended on the years in which the writer worked, since the playwright reflected in his works the life of a particular period in its contradictions, complexity and movement towards the new. Actual problems for almost all playwrights, whose work was considered in this coursework, were: the problems of a small person, the problem of venality of power, the problems of loneliness and indifference, the problem of adultery, misunderstanding of the world, the problem of duplicity of man and many others.
2. The innovation of problems and themes is considered in close connection with the period of creative work of playwrights. Dramaturgy of the late 19th-20th centuries is a qualitatively new literature. It appears when the humanistic ideas preached by the English classics of the 19th century were no longer able to lead humanity out of the crisis. This was understood not only by playwrights, but also by ordinary people. Seeing the failure of the ideals of the past, they sought to find salvation in new ideas opposed to humanistic ones. The period considered in this course work is the time of the emergence of new topics and issues in the literature, as the idea of the values of the world is changing.
Thus, new problems constantly arise, new themes that the playwright consecrates in his plays, but, moreover, very often the problems of past years remain unresolved. Now it is possible to take the next step: to pay attention to eternal problems and try to do everything possible so that this or that problem remains in the past.
“In Bernard Shaw, we can salute one of the most brilliant paladins of laughter in the history of human art. When you read the Show, you become cheerful, almost constantly smiling or laughing.
But at the same time, you get scared. It can be terrifying even for such a reader, against whom Shaw's arrows of laughter are directed, it can also be terrifying for a sympathetic reader when Shaw reveals to him the gloomy essence of capitalist reality ”- this is how A.V. Lunacharsky at the evening in honor of the 75th anniversary of B. Shaw in the House of Trade Unions in Moscow.
These words could be spoken today. The English playwright, who survived riots and wars, the change of the political system, the unfair post-war persecution, the loss of hopes and the acquisition of new ones, who chose the sharp word and the power of paradox as his main weapon against cruel reality, did not break and did not succumb to the capitalist machine, decadence and primitivism. He remains a representative of topical ideas today.
An analysis of the life and work of Bernard Shaw leads to the conclusion that paradoxical thinking, as a creative method of the writer, is directed against hypocrisy and hypocrisy, social inequality, militarism, cruelty, and the absurdity of traditional foundations.
The freedom of Bernard Shaw, by the strength and brilliance of his mind, gave him the opportunity to extricate himself from the web of bourgeois sophism, bourgeois hypocrisy, bourgeois prejudices. With his clear eyes of an ironist, he saw through all the ugly ugliness of the current social system. And he was able, in an unusually brilliant, intriguing and at the same time convincing form, to draw up his figurative indictment against the bourgeoisie. This is the great merit of Bernard Shaw.