By Mary Luckhurst
This wide-ranging Companion to trendy British and Irish Drama deals not easy analyses of a number of performs of their political contexts. It explores the cultural, social, financial and institutional agendas that readers have to have interaction with as a way to have fun with smooth theatre in all its complexity.
- An authoritative consultant to fashionable British and Irish drama.
- Engages with theoretical discourses tough a canon that has privileged London in addition to white English men and realism.
- Topics lined contain: nationwide, neighborhood and fringe theatres; post-colonial levels 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 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: neighborhood 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 luck: 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 continuously performing: 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 good judgment 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 struggle: Charles Wood's army judgment 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 the fact 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 manner 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, historical and sleek (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 worldwide (pages 476–487): Elin Diamond
Chapter forty Howard Barker and the Theatre of disaster (pages 488–498): Chris Megson
Chapter forty-one interpreting historical past 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 photographs 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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Additional info for A Companion to Modern British and Irish Drama 1880-2005
Rich and living’ that rejuvenates Maeve, and occasions the only moment of desire for life fulfilled in the entire play (Synge 1995: 96). As in the case of John Bull’s Other Island, there is a lot at stake in Famine, for playwright, actors and directors. The play’s cultural significance is generated by its dual identity as an apparently historical play that is also always a refusal of the ideological consensus at the core of contemporary Independent Ireland. The burning critical question concerns the extent to which the play’s intervention is of such an order that its audience can begin to lay down its own stake as it enters the theatre.
Hence the involvement of a Land League leader like Michael Davitt in the Labour interest during the general elections in Britain. That process was reciprocal, however, indicating that it was not only among left-wing activists that the dialectic was at work. Many traditional Englanders, sensing that a pristine version of their cultural heritage (Elizabethan English and all) was still to be encountered on the other island, came over to savour its ruralist ethos and its Shakespearean speech. Some, like Wilfrid Scawen Blunt, found themselves also supporting the Land League.
Home Rule for England’ became Shaw’s favourite slogan; and whenever he was asked by bemused Londoners for the meaning of the terrible words Sinn Fe´in, he told them ‘It is the Irish for John Bull’ (Shaw 1962: 149). That programme of English self-recovery had a set of cultural corollaries, best outlined by W. B. Yeats. His re-reading of Shakespeare at the start of the twentieth century was based on the attempt to restore ‘English’ in place of a ‘British’ Shakespeare, one who loved the doomed Celtic complexity of Richard II and scorned the usurper Bolingbroke’s merely administrative guile.
A Companion to Modern British and Irish Drama 1880-2005 by Mary Luckhurst