Download A Companion to Modern British and Irish Drama 1880-2005 by Mary Luckhurst PDF

By Mary Luckhurst

This wide-ranging Companion to fashionable British and Irish Drama deals tough analyses of a number of performs of their political contexts. It explores the cultural, social, monetary and institutional agendas that readers have to interact with to be able to savour smooth theatre in all its complexity.

  • An authoritative consultant to fashionable British and Irish drama.
  • Engages with theoretical discourses not easy a canon that has privileged London in addition to white English men and realism.
  • Topics coated comprise: nationwide, local and fringe theatres; post-colonial phases and multiculturalism; feminist and queer theatres; intercourse and consumerism; know-how and globalisation; representations of warfare, 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 courtroom 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 this present day (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 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 luck: ladies 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 continues to be 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 constantly 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 international 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 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 seeing 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 renowned 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, historical and sleek (pages 454–465): Jan McDonald
Chapter 38 ‘Spirits that experience turn 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 analyzing historical past within the performs of Brian Friel (pages 499–508): Lionel Pilkington
Chapter forty two Marina Carr: Violence and Destruction: Language, area 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 know-how (pages 551–562): Andy Lavender

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Extra resources for A Companion to Modern British and Irish Drama 1880-2005

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7 See Lionel Pilkington (2005). ‘Historicizing is Not Enough: Recent Developments in Irish Theatre History’, Modern Drama 47:4, 729. 8 ‘This conflict of pleasure/unpleasure, mastery/ defence, knowledge/disavowal, absence/presence, has a fundamental significance for colonial discourse’ (Homi K. Bhabha (1983). ‘The Other Question: The Stereotype and Colonial Discourse’, Screen 24:6, 27). 9 Patrick Mason, artistic director, Abbey and Peacock Theatres (1992–8), unpublished conversation with the author, October 2005.

Once again, Irish culture existed in a kind of parabolic relation to England’s; once again, the Irish in renovating their own consciousness were also helping, wittingly or unwittingly, to reanimate England’s. Englishness surely needs redefining. It is a mark of how sunk beneath the level of consciousness it now is that in large tracts of the world people entirely miss the element of parody in a comic-opera song like ‘He is an Englishman’ or the drawingroom plays of Oscar Wilde. Those works which are known to be parodic, such as the lyrics of Noe¨l Coward, have been esteemed among formerly colonized peoples for what are at best dubious reasons: they allow people to laugh gently at Englishness, while also reassuring them that as an act it is hilariously easy to mimic.

In his own drama, Yeats sought to recover the earlier verbal energies of the English language and the poetry of the carnivalesque. His resolve to tour London, Oxford and Cambridge with his plays was based less on a forelock-tugging desire for ratification in the great cultural centres of Britain (as nationalist detractors back in Dublin alleged) than on a thoroughly admirable ambition to unfreeze the drama of post-Victorian Britain from its torpor, by restoring to it some of the authentic energies of the English poetic drama.

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