Who's Afraid of Virginia Woolf?: Analysis of Setting
"Who's Afraid of Virginia Woolf?" is a play by Edward Albee that explores the intricacies of marriage, illusion, and the harsh realities of life through the tumultuous relationship of George and Martha. Set in the fictional New Carthage, a name laden with historical connotations, the play juxtaposes the world of academia with themes of decay and sterility. The setting symbolizes both the potential for intellectual growth and the destructive forces that accompany it, much like the ancient Carthage that was razed by the Romans.
The couple's home serves as a microcosm of their dysfunctional marriage, characterized by bitterness and disillusionment. The disheveled state of their residence, adorned with items that evoke national symbols, reflects the chaotic and anarchic nature of their relationship. The play also introduces Nick and Honey, who represent a clash between historical intellect and modern scientific ambition, highlighting various personal and ideological conflicts. Ultimately, the setting reinforces the central themes of corruption and failure, inviting audiences to contemplate the broader implications of the characters' dysfunctions within the context of society at large.
Who's Afraid of Virginia Woolf?: Analysis of Setting
First published: 1962
First produced: 1962
Type of work: Drama
Type of plot: Absurdist
Time of work: Mid-twentieth century
Places Discussed
New Carthage
New Carthage. Fictional town named after a city from the ancient world. Carthage was destroyed forever when the Romans added salt to the soil, ensuring that nothing would grow there and that the place would become a wasteland. George and Martha’s marriage is sterile—the only child they produce is an imaginary one—and nothing positive seems to come from their union. The play is a black comedy of vitriolic abuse and tart sleaziness, as it highlights licentious drink and sex, with the two couples descending into sadomasochistic games and behavior.
New Carthage has a symbolic significance in the play. Because it is a place dedicated to higher learning and hence to the progress of civilization, the name of New Carthage is particularly significant. The ancient city called Carthage, founded by the Phoenicians and later destroyed by the Romans, conjoins history and destruction ironically. George is a history professor, but according to Martha, he lacks ambition and so is stuck in a rut. Nick, who has been invited over for drinks with his mousey wife Honey, teaches biology, which implies that he belongs to a class of scientists who would reorder the world even at the price of rendering it mechanized and dehumanized. Therefore, there is an intellectual clash between the man of history and the man of science, along with other lacerating conflicts of a more personal nature. All outward signs of respectability and decorum disintegrate in a searing exposé of corruption.
George and Martha’s home
George and Martha’s home. Private residence on a campus in New Carthage, New England. Martha drunkenly calls the house “a dump” as she and George fumble in the dark after returning at 2 a.m. from a faculty party. However, the setting expresses the anarchic state of her marriage to George, as well as pointing to a larger failure. The set design of the original Broadway production showed a wrought-iron American eagle, an American flag turned upside down, and antique American furniture, along with bookshelves, a stereo set, and a bar. These props and furnishings fortify the symbolism of the names of Martha and George, the names of the first U.S. president and his wife. Albee seems to suggest that the foibles and flaws of the characters are signs of larger flaws in American society.
Bibliography
Bigsby, C. W. E., ed. Edward Albee: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1975. Five challenging essays on the play give this general survey shape.
Bottoms, Stephen J. Albee: “Who’s Afraid of Virginia Woolf?” New York: Cambridge University Press, 2000. A thorough study of Albee’s best-known play.
Cohn, Ruby. Edward Albee. Minneapolis: University of Minnesota Press, 1969. An invaluable introduction to the playwright that offers sensitive scholarship and understanding. Includes a bibliography.
Kolin, Philip C., ed. Conversations with Edward Albee. Jackson: University Press of Mississippi, 1988. Valuable interviews containing Albee’s assessments of the creative process, critics, theater, drama, and life.
Paolucci, Anne. From Tension to Tonic: The Plays of Edward Albee. Carbondale: Southern Illinois University Press, 1972. A thoughtful assessment of Albee’s genius and use of language in relation to European absurdist and existentialist traditions.
Roudane, Matthew Charles. “Who’s Afraid of Virginia Woolf?” Necessary Fictions, Terrifying Realities. Boston: Twayne, 1990. A book-length historical and critical study of the play. Useful and well written.