Cambridge Studies in Modern Theatre – serie
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63 produkter
63 produkter
The Politics of Alternative Theatre in Britain, 1968-1990
The Case of 7:84 (Scotland)
Häftad, Engelska, 2006
574 kr
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This book examines one of the most influential modern theatre companies, 7:84 (Scotland), under the directorship of John McGrath. 7:84 (Scotland) has been a vital contributor to the place and importance of alternative theatre on the modern British stage. DiCenzo explores the development of this company, the growth of popular theatre in general within the last twenty years and offers a methodology for analysing records and materials found in theatre company archives and illustrates the many issues inherent in running a theatre company, including venues, practitioners and the politics of funding. The book includes valuable primary source material and informative production photographs and company posters.
722 kr
Skickas inom 7-10 vardagar
'To portray the Holocaust, one has to create a work of art', says Claude Lanzmann, the director of Shoah. However, can the Holocaust be turned into theatre? Is it possible to portray on stage events that, by their monstrosity, defy human comprehension? These are the questions addressed by the playwrights and the scholars featured in this book. Their essays present and analyse plays performed in Israel, America, France, Italy, Poland and, of course, Germany. The style of presentation ranges from docudramas to avant-garde performances, from realistic impersonation of historical figures to provocative and nightmarish spectacles. The book is illustrated with original production photographs and some rare drawings and documents; it also contains an important descriptive bibliography of more than two hundred Holocaust plays.
398 kr
Skickas inom 7-10 vardagar
This work gives an 'inside' view of Chinese theatre and the actor in performance. In doing so it also challenges Western theatre artists such as Brecht, Grotowski, Barba and Schechner, who have extracted from Chinese theatre elements which might enrich their own theatres. Jo Riley writes from her personal observations of, and dialogue with, Chinese actors and her first-hand experiences of the theatre world of China in general, none of which was possible before 1980. She uses not only jingju (so misrepresented as Peking opera) but also exorcism, puppet theatre and ancient animation rites at the tomb to provide models for exploring the process of creating presence on the Chinese stage. Her study is well illustrated with photographs and diagrams and is accessible to anyone interested in theatre, even those with no knowledge of Chinese or Chinese theatre.
722 kr
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Post-Imperial Brecht challenges prevailing views of Brecht's theatre and politics. Most political theatre critics place Brecht between West and East in the Cold War, and a few have recently explored Brecht's impact as a Northern writer on the global South. Loren Kruger is the first to argue that Brecht's impact as a political dramatist, director and theoretical writer makes full sense only when seen in a post-imperial framework that links the East/West axis between US capitalism and Soviet communism with the North/South axis of postcolonial resistance to imperialism. This framework highlights Brecht's arguments with theorists like Benjamin, Bloch, and Lukacs. It also shows surprising connections between socialist East Germany, where Brecht's 1950s projects impressed the emerging Heiner Müller, and apartheid-era South Africa, where his work appeared on the apartheid as well as anti-apartheid stage.
655 kr
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Histories of British theatre between 1918 and 1939 have tended to marginalize the commercial and mainstream in favour of the literary or the politically motivated. This volume brings together a collection of essays that reflect both a far more complex theatre world than this strategy has allowed for, and scholarship on mainstream and alternative theatres in the 1920s and 1930s. Combining the popular with the commercial, the book includes accounts of the craze for thriller and detective plays and musical comedy and revue, alongside analyses of historical pageantry and the development of politicized productions of Shakespeare. With assessments of the representation of gender and sexuality in the theatre, this volume not only unveils hitherto neglected theatre practices but also places them in the context of a society undergoing rapid social and cultural change. It will appeal to advanced undergraduates and postgraduates and scholars interested in twentieth-century British theatre.
582 kr
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Dramaturgy: A Revolution in Theatre is a substantial history of the origins of dramaturgs and literary managers. It frames the explosion of professional appointments in England within a wider continental map reaching back to the Enlightenment and eighteenth-century Germany, examining the work of the major theorists and practitioners of dramaturgy, from Granville Barker and Gotthold Lessing to Brecht and Tynan. This study positions Brecht's model of dramaturgy as central to the worldwide revolution in theatre-making practices, and it also makes a substantial argument for Granville Barker's and Tynan's contributions to the development of literary management. With the territories of play and performance-making being increasingly hotly contested, and the public's appetite for new plays showing no sign of diminishing, Mary Luckhurst investigates the dramaturg as a cultural and political phenomenon.
466 kr
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Using extensive and untapped archival material as well as a series of in-depth interviews with Fassbinder's main theatre associates, this book offers commentary on and insights into Fassbinder's plays, his dramaturgies and staging practice. David Barnett helps to unlock the much discussed theatricality of Fassbinder's films by showing its many concrete sources. The first study of Fassbinder's work in the theatre, as a playwright and director, this book gives a full contextualisation of his work within the upheavals of its times. Readers are introduced to the cultural history of the West German theatre in the late 1960s and early 1970s. Radicalism in society meets experiment on stage as Fassbinder emerges from the cellar theatre scene of Munich, co-founds the antiteater and is then integrated into the most subsidised theatre in Europe, before being offered his own theatre to run for one fateful season.
1 383 kr
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Joan Littlewood was one of the most visionary and influential theatre directors of the twentieth century. Drawing on extensive archival research and detailed performance histories, and paying close attention to wider political and cultural forces, this innovative study presents a fresh examination of Littlewood's treatment of the politics of war, Renaissance plays, marginalised communities and popular culture in productions such as Oh What a Lovely War, A Taste of Honey and Richard II. This book offers a sustained examination of Littlewood's paratheatrical activity that centred on her ambitious plans for the Fun Palace, a multifaceted cultural centre, and her numerous playground projects for young people. Alert to critical thinking on ethics, citizenship, cultural politics, class and space, Joan Littlewood's Theatre will deepen and extend knowledge and understanding of the innovative theatrical, cultural and community-based practices generated by Littlewood throughout her career.
466 kr
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After nearly five decades as one of Ireland's most celebrated playwrights, Brian Friel has been the subject of ten books and dozens of articles. This study expands Friel criticism into a sizeable body of material and into a fresher interpretative direction. Along with considering Friel's more recent plays, the book analyzes his interviews and essays to chart the author's ideological evolution throughout a career of more than forty years. Moreover, a chapter is devoted to his often ignored articles for The Irish Press (1962-1963), a series that reveals unsuspected insights into Friel's disposition towards the Irish Republic. Refining our understanding of Friel's relationship to Republicanism is central to the argument; rather than assuming that the author embraces nationalist ideology, the book relocates the conceptual concerns of his work away from Dublin and to 'The North', this bridge between Ireland and the British province of Northern Ireland.
542 kr
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Based on extensive archival research, this is a comprehensive study of theatre in the Third Reich. It explores the contending pressures and ambitions within the regime and the Nazi party, within the German theatre profession itself and the theatre-going public. Together, these shaped theatrical practice in the Nazi years. By tracing the origins of the Nazi stage back to the right-wing theatre reform movement of the late nineteenth century, Strobl suggests that theatre was widely regarded as a central pillar of German national identity. The role played by the stage in the evolving collective German identity after 1933 is examined through chapters on theatre and Nazi racial policy, anti-religious campaigns and the uses of history. The book traces the evolving fortunes of theatre in the Third Reich, to the years of 'total war', and the resulting physical destruction of most German playhouses.
574 kr
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This text was the first monograph to document and analyse the plays written by Black and Asian women in Britain. The volume explores how Black and Asian women playwrights theatricalize their experiences of migration, displacement, identity, racism and sexism in Britain. Plays by writers such as Tanika Gupta, Winsome Pinnock, Maya Chowdhry and Amrit Wilson, among others - many of whom have had their work produced at key British theatre sites - are discussed in some detail. Other playwrights' work is also briefly explored to suggest the range and scope of contemporary plays. The volume analyses concerns such as geographies of un/belonging, reverse migration (in the form of tourism), sexploitation, arranged marriages, the racialization of sexuality, and asylum seeking as they emerge in the plays, and argues that Black and Asian women playwrights have become constitutive subjects of British theatre.
628 kr
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The Holocaust - the systematic attempted destruction of European Jewry and other 'threats' to the Third Reich from 1933 to 1945 - has been portrayed in fiction, film, memoirs, and poetry. Gene Plunka's study will add to this chronicle with an examination of the theatre of the Holocaust. Including thorough critical analyses of more than thirty plays, this book explores the seminal twentieth-century Holocaust dramas from the United States, Europe, and Israel. Biographical information about the playwrights, production histories of the plays, and pertinent historical information are provided, placing the plays in their historical and cultural contexts.
1 411 kr
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This volume provides a theoretical framework for some of the most important play-writing in Britain in the second half of the twentieth century. Examining representative plays by Arnold Wesker, John Arden, Trevor Griffith, Howard Barker, Howard Brenton, Edward Bond, David Hare, John McGrath and Caryl Churchill, the author analyses their respective strategies for persuading audiences of the need for a radical restructuring of society. The book begins with a discussion of the way that theatre has been used to convey a political message. Each chapter is then devoted to an exploration of the engagement of individual playwrights with left-wing political theatre, including a detailed analysis of one of their major plays. Despite political change since the 1980s, political play-writing continues to be a significant element in contemporary play-writing, but in a very changed form.
649 kr
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This volume provides a theoretical framework for some of the most important play-writing in Britain in the second half of the twentieth century. Examining representative plays by Arnold Wesker, John Arden, Trevor Griffith, Howard Barker, Howard Brenton, Edward Bond, David Hare, John McGrath and Caryl Churchill, the author analyses their respective strategies for persuading audiences of the need for a radical restructuring of society. The book begins with a discussion of the way that theatre has been used to convey a political message. Each chapter is then devoted to an exploration of the engagement of individual playwrights with left-wing political theatre, including a detailed analysis of one of their major plays. Despite political change since the 1980s, political play-writing continues to be a significant element in contemporary play-writing, but in a very changed form.
1 342 kr
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The Royal Court Theatre is one of the primary forums in the development of post-war drama. Under the title of the English Stage Company the theatre's house actors and dramatists commissioned and produced some of the most influential plays in modern theatre history, including the works of Brenton, Churchill, Bond and Osborne. The story of the Royal Court is also the history of the contemporary stage. In this absorbing account of the theatre's history from 1956 to 1998, Philip Roberts draws on previously unpublished archives in both public and private collections and a series of interviews with people prominent in the Court's life. The book also includes a Foreword by the former Director of the Royal Court, Max Stafford-Clark. The result is an intimate account of the working of the foremost house of modern drama and its relationships to the world of the theatre in Britain and abroad.
506 kr
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The Royal Court Theatre is one of the primary forums in the development of post-war drama. Under the title of the English Stage Company the theatre's house actors and dramatists commissioned and produced some of the most influential plays in modern theatre history, including the works of Brenton, Churchill, Bond and Osborne. The story of the Royal Court is also the history of the contemporary stage. In this absorbing account of the theatre's history from 1956 to 1998, Philip Roberts draws on previously unpublished archives in both public and private collections and a series of interviews with people prominent in the Court's life. The book also includes a Foreword by the former Director of the Royal Court, Max Stafford-Clark. The result is an intimate account of the working of the foremost house of modern drama and its relationships to the world of the theatre in Britain and abroad.
1 194 kr
Skickas inom 7-10 vardagar
The Holocaust - the systematic attempted destruction of European Jewry and other 'threats' to the Third Reich from 1933 to 1945 - has been portrayed in fiction, film, memoirs, and poetry. Gene Plunka's study will add to this chronicle with an examination of the theatre of the Holocaust. Including thorough critical analyses of more than thirty plays, this book explores the seminal twentieth-century Holocaust dramas from the United States, Europe, and Israel. Biographical information about the playwrights, production histories of the plays, and pertinent historical information are provided, placing the plays in their historical and cultural contexts.
1 411 kr
Skickas inom 7-10 vardagar
In this book Brian Crow and Chris Banfield provide an introduction to post-colonial theatre by concentrating on the work of major dramatists from the Third World and subordinated cultures in the first world. Crow and Banfield consider the plays of such writers as Wole Soyinka and Athol Fugard and his collaborators from Africa; Derek Walcott from the West Indies; August Wilson and Jack Davis, who write from and about the experience of Black communities in the USA and Australia respectively; and Badal Sircar and Girish Karnad from India. Although these dramatists reflect diverse cultures and histories, they share the common condition of cultural subjection or oppression, which has shaped their theatres. Each chapter contains an informative list of primary source material and further reading about the dramatists. The book will be of interest to students and scholars of theatre and cultural history.
881 kr
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David Edgar's writings address the most basic questions of how humans organize and govern themselves in modern societies. This study brings together the disciplines of political philosophy and theatre studies to approach the leading British playwright as a political writer and a public social critic. Edgar uses theatre as a powerful tool of public discourse, an aesthetic modality for engaging with and thinking/feeling through the most pressing social issues of the day. In this he is a supreme rationalist: he deploys character, plot and language to explore ideas, to make certain kinds of discursive cases and model hypothetical alternatives. Reinelt and Hewitt analyze twelve of Edgar's most important plays, including Maydays and Pentecost, and also provide detailed discussions of key performances and critical reception to illustrate the playwright's artistic achievement in relation to his contributions as a public figure in British cultural life.
493 kr
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Theatre and Empowerment examines the ability of drama, theatre, dance and performance to empower communities of very different kinds, and it does so from a multi-cultural perspective. The communities involved include poverty-stricken children in Ethiopia and the Indian sub-continent, disenfranchised Native Americans in the USA and young black men in Britain, victims of violence in South Africa and Northern Ireland, and a threatened agricultural town in Italy. The book asserts the value of performance as a vital agent of necessary social change, and makes its arguments through the close examination, from 'inside' practice, of the success - not always complete - of specific projects in their practical and cultural contexts. Practitioners and commentators ask how performance in its widest sense can play a part in community activism on a scale larger than the individual, 'one-off' project by helping communities find their own liberating and creative voices.
The Politics of Alternative Theatre in Britain, 1968-1990
The Case of 7:84 (Scotland)
Inbunden, Engelska, 1996
1 531 kr
Skickas inom 7-10 vardagar
This book examines one of the most influential modern theatre companies, 7:84 (Scotland), under the directorship of John McGrath. 7:84 (Scotland) has been a vital contributor to the place and importance of alternative theatre on the modern British stage. DiCenzo explores the development of this company, the growth of popular theatre in general within the last twenty years and offers a methodology for analysing records and materials found in theatre company archives and illustrates the many issues inherent in running a theatre company, including venues, practitioners and the politics of funding. The book includes valuable primary source material and informative production photographs and company posters.
466 kr
Skickas inom 7-10 vardagar
In this book Brian Crow and Chris Banfield provide an introduction to post-colonial theatre by concentrating on the work of major dramatists from the Third World and subordinated cultures in the first world. Crow and Banfield consider the plays of such writers as Wole Soyinka and Athol Fugard and his collaborators from Africa; Derek Walcott from the West Indies; August Wilson and Jack Davis, who write from and about the experience of Black communities in the USA and Australia respectively; and Badal Sircar and Girish Karnad from India. Although these dramatists reflect diverse cultures and histories, they share the common condition of cultural subjection or oppression, which has shaped their theatres. Each chapter contains an informative list of primary source material and further reading about the dramatists. The book will be of interest to students and scholars of theatre and cultural history.
1 612 kr
Skickas inom 7-10 vardagar
This work gives an 'inside' view of Chinese theatre and the actor in performance. In doing so it also challenges Western theatre artists such as Brecht, Grotowski, Barba and Schechner, who have extracted from Chinese theatre elements which might enrich their own theatres. Jo Riley writes from her personal observations of, and dialogue with, Chinese actors and her first-hand experiences of the theatre world of China in general, none of which was possible before 1980. She uses not only jingju (so misrepresented as Peking opera) but also exorcism, puppet theatre and ancient animation rites at the tomb to provide models for exploring the process of creating presence on the Chinese stage. Her study is well illustrated with photographs and diagrams and is accessible to anyone interested in theatre, even those with no knowledge of Chinese or Chinese theatre.
1 342 kr
Skickas inom 7-10 vardagar
This is the first book to explore the world of the theatre in Russia after Stalin. Through his work at the Moscow Art Theatre, Anatoly Smeliansky is in a key position to analyse contemporary events on the Russian stage and he combines this first-hand knowledge with valuable archival material, some published here for the first time, to tell a fascinating and important story. Smeliansky chronicles developments from 1953 and the rise of a new Soviet theatre, and moves through the next four decades, highlighting the social and political events which shaped Russian drama and performance. The book also focuses on major directors and practitioners, including Yury Lyubimov, Oleg Yefremov, and Lev Dodin, among others, and contains a chronology, glossary of names, and informative illustrations.
569 kr
Skickas inom 7-10 vardagar
This is the first book to explore the world of the theatre in Russia after Stalin. Through his work at the Moscow Art Theatre, Anatoly Smeliansky is in a key position to analyse contemporary events on the Russian stage and he combines this first-hand knowledge with valuable archival material, some published here for the first time, to tell a fascinating and important story. Smeliansky chronicles developments from 1953 and the rise of a new Soviet theatre, and moves through the next four decades, highlighting the social and political events which shaped Russian drama and performance. The book also focuses on major directors and practitioners, including Yury Lyubimov, Oleg Yefremov, and Lev Dodin, among others, and contains a chronology, glossary of names, and informative illustrations.
1 531 kr
Skickas inom 7-10 vardagar
Histories of British theatre between 1918 and 1939 have tended to marginalize the commercial and mainstream in favour of the literary or the politically motivated. This volume brings together a collection of essays that reflect both a far more complex theatre world than this strategy has allowed for, and scholarship on mainstream and alternative theatres in the 1920s and 1930s. Combining the popular with the commercial, the book includes accounts of the craze for thriller and detective plays and musical comedy and revue, alongside analyses of historical pageantry and the development of politicized productions of Shakespeare. With assessments of the representation of gender and sexuality in the theatre, this volume not only unveils hitherto neglected theatre practices but also places them in the context of a society undergoing rapid social and cultural change. It will appeal to advanced undergraduates and postgraduates and scholars interested in twentieth-century British theatre.
1 625 kr
Skickas inom 7-10 vardagar
'To portray the Holocaust, one has to create a work of art', says Claude Lanzmann, the director of Shoah. However, can the Holocaust be turned into theatre? Is it possible to portray on stage events that, by their monstrosity, defy human comprehension? These are the questions addressed by the playwrights and the scholars featured in this book. Their essays present and analyse plays performed in Israel, America, France, Italy, Poland and, of course, Germany. The style of presentation ranges from docudramas to avant-garde performances, from realistic impersonation of historical figures to provocative and nightmarish spectacles. The book is illustrated with original production photographs and some rare drawings and documents; it also contains an important descriptive bibliography of more than two hundred Holocaust plays.
1 463 kr
Skickas inom 7-10 vardagar
Theatre, in a variety of forms and contexts, can make, and indeed has made, positive political and social interventions in a range of developing cultures across the world. In this book a distinguished team of theatre historians and dramatists explores how theatre has a dynamic and often difficult relationship with societies and states, arguing positively that theatrical activity can make a difference. The collection begins with a foreword by Wole Soyinka and, through the volume, specially chosen plays, projects and movements are examined, embracing a variety of theatrical forms from conventional text to on-site developmental work. The communities addressed range from the national to the local, from middle-class elites to the economically dispossessed in countries such as Brazil and Argentina, Nigeria, Eritrea and South Africa, and India and the Caribbean countries.
628 kr
Skickas inom 7-10 vardagar
Theatre, in a variety of forms and contexts, can make, and indeed has made, positive political and social interventions in a range of developing cultures across the world. In this book a distinguished team of theatre historians and dramatists explores how theatre has a dynamic and often difficult relationship with societies and states, arguing positively that theatrical activity can make a difference. The collection begins with a foreword by Wole Soyinka and, through the volume, specially chosen plays, projects and movements are examined, embracing a variety of theatrical forms from conventional text to on-site developmental work. The communities addressed range from the national to the local, from middle-class elites to the economically dispossessed in countries such as Brazil and Argentina, Nigeria, Eritrea and South Africa, and India and the Caribbean countries.
1 612 kr
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In this book Nicholas Grene explores political contexts for some of the outstanding Irish plays from the nineteenth century to the contemporary period. The politics of Irish drama have previously been considered primarily the politics of national self-expression. Here it is argued that Irish plays, in their self-conscious representation of the otherness of Ireland, are outwardly directed towards audiences both at home and abroad. The political dynamics of such relations between plays and audiences is the book's multiple subject: the stage interpretation of Ireland from The Shaughraun to Translations; the contentious stage images of Yeats, Gregory and Synge; reactions to revolution from O'Casey to Behan; the post-colonial worlds of Purgatory and All that Fall; the imagined Irelands of Friel and Murphy, McGuinness and Barry. With its fundamental reconception of the politics of Irish drama, this book represents an alternative view of the phenomenon of Irish drama itself.