This paper examines how modern drama works closely with the concept of the repression of fear and
aggression and how Freudian
theory had a direct impact on dramatists after the 1920s. It looks at how Beckett's drama portrays the human condition through the depreciation of psychological forces and how, conversely, Chekhov
allows his characters a sense of realisation through negative capability whereby the characters are respectively voiced without emphasis on any one viewpoint. It also shows how like Ibsen he allows the characters the freedom to speak almost randomly, in what Freud would term the technique of free association used to cure patients by articulating their repressed fears and aggressions.