Playwriting and the Contemporary: Critical Collaborations – serie
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This edited collection reflects on British playwright Martin Crimp (b. 1956) and his remarkable and multifaceted career in theatre and opera, offering an interdisciplinary, collaborative and internationalist analysis of one of the most unique authorial voices globally in the recent and contemporary period. While taking stock of Crimp’s output across different theatre and performance genres as well as cultural and production contexts, the volume’s contributors are motivated not merely by looking back, but by strongly engaging with the present and future of this extraordinary writer.The volume locates Crimp as a groundbreaking figure in literary and artistic traditions in the United Kingdom and beyond, all the while recognising that his output transcends categorisation and occupies a singular and distinctive space. Co-edited by Vicky Angelaki (Sweden), Élisabeth Angel-Perez (France) and Clara Escoda (Spain), three leading research experts in Martin Crimp Studies internationally, the volume additionally features contributions by a team of prominent academic authors whose individual work has also served to create and define this field across different literary, artistic and cultural contexts. A key feature of the book is a major new and extensive interview with Martin Crimp by Aleks Sierz, offering valuable elucidation of crucial aspects of Crimp’s writing and process.
2 241 kr
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This book examines the emergence of documentary theatre in Ireland during the 2010s, linking this to a combination of political crises and societal changes in an increasingly experimental and adaptable Irish theatre landscape. The book observes a flourishing of the ‘documentary aesthetic’: a term referring to the appearance of reality, urgency and direct relevance to real-life events in theatrical productions, usually those derived from documentary sources. In this decade, Irish theatre makers have drawn upon the documentary aesthetic to link performances directly with pressing socio-political issues; their mixed application of documentary methods and other theatrical styles is a key focus of this study.Across its four chapters, the book offers a chronological examination of key productions that exemplify the proliferation of the documentary aesthetic in Irish theatre throughout the 2010s. It analyses productions and performance texts, and features practitioner interviews within its examination of this decade. A key theme in this study is the notion of authorship, particularly within performances that include verbatim accounts of real-life experiences. The book considers the emergence of documentary theatre-making, acknowledging both the persistence of the playwright-author and the widespread embrace of collaborative and devised practice in contemporary Irish theatre. This book speaks to scholars, students and artists with an interest in documentary theatre and Irish drama.