Abstract

Edward Bond's _The War Plays_ align with Theodor Adorno's characterization of utopia as the recognition of reality's dialectically gleaned potential for change. Formal and dramaturgical contradictions within _The War Plays_ serve to stimulate social and political possibilities. Within this context, art functions as a form of "determinate negation," acting as a tool of resistance against ideological manipulations. As such, this study unveils how Bond's early confidence in the capacity of art to drive positive societal change evolves into a more nuanced position that recognizes both the enduring impact of cultural norms, and their tendency to recur throughout history. Any optimistic utopianism within Bond's _The War Plays_ is therefore accompanied by the inescapable shadow of past conflicts.