By Mary Luckhurst
This wide-ranging Companion to trendy British and Irish Drama deals hard analyses of a number performs of their political contexts. It explores the cultural, social, fiscal and institutional agendas that readers have to have interaction with with a purpose to have fun with glossy theatre in all its complexity.
- An authoritative advisor to trendy British and Irish drama.
- Engages with theoretical discourses demanding a canon that has privileged London in addition to white English men and realism.
- Topics coated comprise: nationwide, nearby and fringe theatres; post-colonial levels and multiculturalism; feminist and queer theatres; intercourse and consumerism; know-how and globalisation; representations of battle, terrorism, and trauma.
Chapter 1 household and Imperial Politics in Britain and eire: The Testimony of Irish Theatre (pages 7–21): Victor Merriman
Chapter 2 Reinventing England (pages 22–34): Declan Kiberd
Chapter three Ibsen within the English Theatre within the Fin De Siecle (pages 35–47): Katherine Newey
Chapter four New lady Drama (pages 48–60): Sally Ledger
Chapter five Shaw one of the Artists (pages 63–74): Jan McDonald
Chapter 6 Granville Barker and the court docket Dramatists (pages 75–86): Cary M. Mazer
Chapter 7 Gregory, Yeats and Ireland'S Abbey Theatre (pages 87–98): Mary Trotter
Chapter eight Suffrage Theatre: group Activism and Political dedication (pages 99–109): Susan Carlson
Chapter nine Unlocking Synge this present day (pages 110–124): Christopher Murray
Chapter 10 Sean O'Casey's robust Fireworks (pages 125–137): Jean Chothia
Chapter eleven Auden and Eliot: Theatres of the Thirties (pages 138–150): Robin Grove
Chapter 12 Empire and sophistication within the Theatre of John Arden and Margaretta D'Arcy (pages 153–163): Mary Brewer
Chapter thirteen whilst was once the Golden Age? Narratives of Loss and Decline: John Osborne, Arnold Wesker and Rodney Ackland (pages 164–174): Stephen Lacey
Chapter 14 A advertisement good fortune: girls Playwrights within the Nineteen Fifties (pages 175–187): Susan Bennett
Chapter 15 domestic options from out of the country: Mustapha Matura (pages 188–197): D. Keith Peacock
Chapter sixteen The is still of the British Empire: the performs of Winsome Pinnock (pages 198–209): Gabriele Griffin
Chapter 17 Wilde's Comedies (pages 213–224): Richard Allen Cave
Chapter 18 regularly appearing: Noel Coward and the acting Self (pages 225–236): Frances Gray
Chapter 19 Beckett'S Divine Comedy (pages 237–246): Katharine Worth
Chapter 20 shape and Ethics within the Comedies of Brendan Behan (pages 247–257): John Brannigan
Chapter 21 Joe Orton: Anger, Artifice and Absurdity (pages 258–268): David Higgins
Chapter 22 Alan Ayckbourn: Experiments in Comedy (pages 269–278): Alexander Leggatt
Chapter 23 'They either upload as much as Me': the common sense of Tom Stoppard'S Dialogic Comedy (pages 279–288): Paul Delaney
Chapter 24 Stewart Parker's Comedy of Terrors (pages 289–298): Anthony Roche
Chapter 25 Awounded level: Drama and global conflict I (pages 301–315): Mary Luckhurst
Chapter 26 Staging ‘The Holocaust’ in England (pages 316–328): John Lennard
Chapter 27 Troubling views: Northern eire, the ‘Troubles’ and Drama (pages 329–340): Helen Lojek
Chapter 28 On battle: Charles Wood's army sense of right and wrong (pages 341–357): sunrise Fowler and John Lennard
Chapter 29 Torture within the performs of Harold Pinter (pages 358–370): Mary Luckhurst
Chapter 30 Sarah Kane: from Terror to Trauma (pages 371–382): Steve Waters
Chapter 31 Theatre considering that 1968 (pages 385–397): David Pattie
Chapter 32 Lesbian and homosexual Theatre: All Queer at the West finish entrance (pages 398–408): John Deeney
Chapter 33 Edward Bond: Maker of Myths (pages 409–418): Michael Patterson
Chapter 34 John Mcgrath and well known Political Theatre (pages 419–428): Maria DiCenzo
Chapter 35 David Hare and Political Playwriting: among the 3rd method and the everlasting approach (pages 429–440): John Deeney
Chapter 36 Left in entrance: David Edgar's Political Theatre (pages 441–453): John Bull
Chapter 37 Liz Lochhead: author and Re?Writer: tales, historic and smooth (pages 454–465): Jan McDonald
Chapter 38 ‘Spirits that experience turn into suggest and Broken’: Tom Murphy and the ‘Famine’ of recent eire (pages 466–475): Shaun Richards
Chapter 39 Caryl Churchill: Feeling international (pages 476–487): Elin Diamond
Chapter forty Howard Barker and the Theatre of disaster (pages 488–498): Chris Megson
Chapter forty-one interpreting background within the performs of Brian Friel (pages 499–508): Lionel Pilkington
Chapter forty two Marina Carr: Violence and Destruction: Language, house and panorama (pages 509–518): Cathy Leeney
Chapter forty three Scrubbing up great? Tony Harrison's Stagings of the earlier (pages 519–529): Richard Rowland
Chapter forty four The query of Multiculturalism: the performs of Roy Williams (pages 530–540): D. Keith Peacock
Chapter forty five Ed Thomas: Jazz photos within the Gaps of Language (pages 541–550): David Ian Rabey
Chapter forty six Theatre and know-how (pages 551–562): Andy Lavender
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Edited via the celebrated Yeats students Mary FitzGerald and Richard J. Finneran, The Irish Dramatic circulation gathers jointly -- for the 1st time -- all the poet's commonly used essays on drama and the groundbreaking circulation that resulted in the long-lasting Irish theater of today.
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A training dramatist himself, Yeats had robust convictions in regards to the targets of the Irish theater and the ideal performs to be produced. The essays during this assortment tackle many themes, from the turbulent early years of what turned the Abbey Theatre to the controversies over the performs of John Millington Synge and the connection among drama and nationalism. additionally obvious are Yeats's judgments on various performs, playwrights, and productions, either in Irish and in English.
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Additional info for A Companion to Modern British and Irish Drama 1880-2005
16 Famine is true to the practicalities of this utopian dialectic, in that its dramatic world, and the range of meaning of its dramatic actions, are wrought not only of social reality but of existing dramatic strategies. In ‘Scene 4: The Love Scene’ Liam Dougan has a secret hoard of nuts and apples. Even though the fruit is sour, it transforms Maeve Connor’s demeanour from that of a bitter old hag to that of a 16-year-old girl. What transforms Maeve is not food only, but the type of food, to which J.
So, in Irish terms, the old colonial capital of Dublin was seen as having continued to swell, even after independence, at the expense of the provinces; a compulsory version of standard Irish was beaten into schoolchildren as once a compulsory version of standard English had been imposed upon them; and British guns which had been used to suppress the 1916 Rebellion were called back by Michael Collins to quell dissident republicans. But if the postcolony carries the after-image of empire on its retina, might not the process be more complicated?
There is one difference between Rome and Britain in the play, however. Caesar ostensibly defers to an incompetent upper-class legate, while privately arranging to have him bumped off, whereas the British army permits the deranged but aristocratic Major Thomas Chichester to pursue a disastrous private war in South Armagh. The Romans, it turns out, were less hobbled by an idiotic class system than the British. That ancient Britain invaded by the Romans seems to be a patchwork quilt of warring fiefdoms, to Reinventing England 31 which the outsiders bring the notion of a single administration – precisely the benefit which the English have claimed to bring to Ireland.