D. Keith Peacock – författare

The Thatcher administration of 1979 to 1990 had a profound and apparently lasting effect on British theatre and drama. It is now roughly a decade since the fall of Margaret Thatcher and, with the benefit of hindsight, it has become possible to disentangle fact from fantasy concerning her effect on the British theatre. During her administration, there was a significant cultural shift which affected drama in Britain. While some critics have argued that the theatre was simply affected by financial cutbacks in arts subsidies, this volume challenges that view. While it looks at the economic influence of Thatcher's policies, it also examines how her ideology shaped theatrical and dramatic discourse. It begins by defining Thatcherism and illustrating its cultural influence. It then examines the consequences of Thatcherite policies through the agency of the Arts Council of Great Britain.Having established this political and cultural environment, the book considers in detail the effect of Thatcher's administration on the subject-matter and dramatic and theatrical discourse of left-wing drama and on the subsidized political theatre companies which proliferated during the 1970s. Attention is then given to the development of constituency theatres, such as Women's and Black Theatre, which assumed an oppositional cultural stance and, in some cases, attempted to develop characteristic theatrical and dramatic discourses. The penultimate chapter deals with the effect of Thatcherite economic policy and ideology on new writing and performance, while the final chapter draws conclusions and suggests that the cultural shift perpetrated by the Thatcher regime has altered the status of subsidized theatre from an agency of cultural, spiritual, social, or psychological welfare to an entertainment industry which is viewed as largely irrelevant to the workings of society.

This unique volume examines the evolution of British historical drama from the birth of modern British drama with John Osborne's Look Back in Anger in 1956 to the establishment of the right-wing government of Margaret Thatcher during the early 1980s. The book illustrates how the ruling group within a society establishes a cultural hegemony by which it perpetuates its values as society's norms. Radical Stages demonstrates how historical drama within the period increasingly was employed as a weapon in an assault upon this cultural hegemony.First defining historical drama, Peacock differentiates the historical drama after 1956 from its predecessors as representing a shift from concern with individual psychology to an emphasis upon the socioeconomic context in which personality is formed. The first stage of this development, to 1968, was marked by a populist concern with ordinary people and by an absence of specific political propaganda. Following the defeat of student revolutionary movements in 1968, the gradual change in left-wing political inclination from anarchism to Marxism was treated in historical settings by such dramatists as Howard Brenton, Trevor Griffiths, Edward Bond, and David Edgar. Radical Stages analyzes these movements as reflected in drama and also considers the place of women in the revolutionary movements of the 1960s and in the British theatre and historical drama of the period. The final chapter speculates on the future of British historical drama in the wake of the fall of both the Thatcher government and communist governments in Eastern Europe.

Harold Pinter is universally described as Britain's leading dramatist. This book evaluates the justification for this appellation. It examines his work in relation to changes taking place in the New British Theatre after the so-called theatrical revolution of 1956, and draws attention to those autobiographical experiences that have been transmuted into his art. Beginning with a look at the nature of British theatre prior to 1956, Peacock then describes Pinter's early life in the East End of London, his career as an actor, and his early writing. The discussion follows Pinter's life and work from ^IThe Room^R in 1957 to his most recent play, Ashes to Ashes in 1996. The author argues that although Pinter has not instigated an aesthetic revolution, he has, more significantly, through his representation of human behavior, provoked a new way of viewing the world.