This guide offers a comprehensive account of British theatre from the 1960s to the present day. Placing critical commentary at the heart of its analysis, it explores how theatre critics and scholars have sought to understand and write about modern theatre, from the earliest reviews to revivals appearing decades later. With studies of contemporary reviews and archival material,
Contemporary British Drama offers readers the opportunity to learn about British theatre in its original context and to chart shifting critical perceptions over the decades. It provides a crucial juxtaposition between the development of British theatre and its contemporaneous critical response, supplying an invaluable insight into the critical climate of recent decades.
From feminist playwrighting to In-Yer-Face theatre, this is the ideal companion for undergraduate students of Literature and Theatre in need of an introduction to the debates surrounding contemporary British drama.
Arvustused
This is a particularly useful resource that offers a nuanced impression of the different forms of contemporary British drama, from feminist and verbatim to musicals and live streaming. The book is written in a very accessible tone that students can engage with in depth. * Marissia Fragkou, Canterbury Christ Church University, UK * Blending reviews and critical commentary, Rees contextualizes (and then re-contextualizes) canonical and non-canonical works from 1965 onwards, exploring not just texts or productions, but the apparatus of making and shaping critical theatrical conversations. * Victor Holtcamp, Tulane University, USA *
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This textbook offers a comprehensive account of British theatre from the 1960s to the present day. Placing critical commentary at the heart of its analysis, it explores how theatre critics and scholars have sought to understand and write about modern theatre.
| Introduction: Some Key Terms and Ideas |
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viii | |
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Chapter One The Rise of Political Theatre |
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1 | (24) |
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Chapter Two The Gendering of Political Theatre: Women's Writing and Feminist Drama |
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25 | (23) |
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Chapter Three In-Yer-Face Theatre: The Shocking New Face of Political Drama? |
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48 | (25) |
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Chapter Four The "New" Political: Verbatim Theatre and Theatre of the "Real" |
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73 | (27) |
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Chapter Five Global Theatres: Representing Race, Religion and Identity |
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100 | (24) |
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Chapter Six New Theatre Forms: Adapting the Novel and Filming the Stage |
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124 | (24) |
| Conclusion |
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148 | (3) |
| Notes |
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151 | (1) |
| Works Cited |
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152 | (14) |
| Index |
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166 | |
Catherine Rees is Programme Director for Drama at Loughborough University, UK. She works mainly in the area of Contemporary British and Irish theatre, and has published on the work of, amongst others, Martin McDonagh, Sarah Kane and Harold Pinter. Her main research interests involve analysing nation and gender in theatre texts, as well as exploring postmodern theatre, theatre and trauma and theatre and adaptation.
