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By Mary Luckhurst

This wide-ranging Companion to fashionable British and Irish Drama bargains not easy analyses of a variety of performs of their political contexts. It explores the cultural, social, fiscal and institutional agendas that readers have to interact with for you to delight in 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 contain: nationwide, nearby and fringe theatres; post-colonial levels and multiculturalism; feminist and queer theatres; intercourse and consumerism; expertise and globalisation; representations of warfare, terrorism, and trauma.

Content:
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 at the present time (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 while used to be 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 Nineteen Fifties (pages 175–187): Susan Bennett
Chapter 15 domestic innovations from in another 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 continuously 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 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 warfare 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 when you consider 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, old 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 worldwide (pages 476–487): Elin Diamond
Chapter forty Howard Barker and the Theatre of disaster (pages 488–498): Chris Megson
Chapter forty-one studying 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 prior (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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Additional resources for A Companion to Modern British and Irish Drama 1880-2005

Sample text

63). The unspoken assumption of L. A. Wilding was that in the 1800 years between the Roman and British empires, nothing of commensurate value had befallen western civilization. The constant references in Brenton’s play to pretty arses on men provides a context for that scene of homosexual rape which led to a prosecution by Mrs Mary Whitehouse on grounds of ‘gross indecency’; but the link implied with the public schools was obvious to all. The main implied equation is, however, with Ireland – stone-throwing British children in Act I become Northern Irish attackers of the British army in Act II; both groups of soldiers build water closets everywhere they go; the Celtic villagers who have never set eyes on a Roman become the Irish farmers who have yet to meet a British soldier; and so on.

9). ). Many sensed that the strain of running a far-flung empire could bring down the home country. Edmund Burke suggested as much in his impeachment of Warren Hastings, and Edward Gibbon openly toyed with the analogy in his Decline and Fall of the Roman Empire. But fighting a common set of external enemies helped to forge a unity at home and to head off energies which might in peace-time have led to internal conflict. Perhaps Reinventing England 27 Tony Blair’s devolutionary policies were an attempt to find a peace-time way of saving the union by making it more fuzzy and less abrasive at the edges.

Ireland just might turn out to be, as Shaw liked to joke, the last spot on earth still producing the ideal Englishman of history, the freedom-loving defender of rural life (Shaw 1988: 18). Blunt saw no contradiction between his support for the Land League, which sought to expropriate landlords, and his own continuing prosperity as a landholding aristocrat in the south of England. He has been accused of misreading the political message of the Land League – but did he? After all, what followed the League’s campaigns was not the communitarianism of Davitt’s dream but a much more English kind of property-owning democracy.

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