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If you don't like it, why don't you change?'," no one has considered what his work might be asking us to consider about and through its disability presence (Savran 16). Still, for all that his plays are, by his own definition, mirrors that he holds up to society to say "'This is who you are, this is how you behave. 1 Indeed, from his first play produced off-Broadway, The Zoo Story (1960) forward, Albee's plays consistently asserted this direct challenge to the normate as embodied in American individualism, the ideal of the American family, the notion of the American dream, and compulsory heteronormativity.
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That many debates about Who's Afraid center around the nature and extent of Albee's critiques of gender, sexuality, and the middle-class values of the bourgeoisie is well-established. Certainly, his work defies genre classification, containing elements of the realist and absurd over the course of his career he has challenged the notion of a dramaturgical normate, a process most visibly initiated in 1962 with his first full-length play, Who's Afraid of Virginia Woolf? And just as ableism signals discomfort with the body's contingency, so too did the fragmentation of form in Who's Afraid instill a similar anxiety in critics:Īlbee's play was troubling not only because of his characters' uninhibited behaviour, but because it blurred and destabilised the familiar categorical boundaries between Broadway's staple diet of domestic naturalism and the overt experimentalism of the new avant garde. While his work has been lauded for its consistent challenges to ossified notions of identity, gender, sexuality, and class, Edward Albee is more than likely not the first modern American playwright to come to mind when one is seeking to reclaim a disability presence in drama.