By Mary Luckhurst
This wide-ranging Companion to trendy British and Irish Drama bargains hard analyses of various performs of their political contexts. It explores the cultural, social, fiscal and institutional agendas that readers have to have interaction with for you to enjoy sleek 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 lined comprise: nationwide, nearby and fringe theatres; post-colonial phases and multiculturalism; feminist and queer theatres; intercourse and consumerism; know-how and globalisation; representations of conflict, terrorism, and trauma.
Chapter 1 family 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 girl 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 at the present time (pages 110–124): Christopher Murray
Chapter 10 Sean O'Casey's strong 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 while 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: ladies Playwrights within the Fifties (pages 175–187): Susan Bennett
Chapter 15 domestic innovations from in a foreign 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 continually appearing: Noel Coward and the appearing 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 degree: Drama and global struggle 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 conflict: Charles Wood's army moral sense (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 manner (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 develop into suggest and Broken’: Tom Murphy and the ‘Famine’ of contemporary 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 examining 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 previous (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 expertise (pages 551–562): Andy Lavender
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Extra info for A Companion to Modern British and Irish Drama 1880-2005
M. Forster have written so well, the ones who (in Thompson’s telling phrase) need saving from the enormous condescension of posterity (Thompson 1968: 13). Whether they also need saving from the enormous condescension of those Irish who tried to help them to help themselves is another matter. But it should be said that the project sketched by Shaw and Wilde in no way militates against a multicultural society. Since all identity is dialogic, ‘England’ is more likely to achieve a satisfying definition in endless acts of negotiation with those of other identities, not just Irish and Welsh, but Indian and Trinidadian too.
London: Verso. Nandy, Ashis (1983). The Intimate Enemy; Loss and Recovery of Self Under Colonialism. Bombay: Oxford University Press. Rutherford, John (1997). Forever England. London: Lawrence and Wishart. Thompson, E. P. (1968). The Making of the English Working Class. Harmondsworth: Penguin. Tynan, Kenneth (1961). Curtains. London: Longman. Wilding, L. A. (1949). A Latin Course for Schools: Part One. London: Methuen. Wood, Gordon S. (1991). The Radicalism of the American Revolution. New York: Vintage.
One more fucking mick’ (Brenton 1980: 75). True enough: but an Irish playwright might have suggested that the converse could also be true. Sinn Fe´in leaders with names like Adams and Morrison had genealogies which in all likelihood evoked not a Celtic past but Cromwell’s invading soldiery. Yet Brenton chose not to make that point, preferring to stress the steady course of the Celtic past through all subsequent British and Irish presents. It didn’t require much imagination to find in a figure such as Brac, dyeing his hair three different colours, a precursor of contemporary British street punks; or to equate the relish with which Brac pulverizes and kills an enemy before a night of heavy drinking with the behaviour of the lager louts of the 1980s.
A Companion to Modern British and Irish Drama 1880-2005 by Mary Luckhurst