By Mary Luckhurst
This wide-ranging spouse to fashionable British and Irish Drama bargains tough analyses of various performs of their political contexts. It explores the cultural, social, financial and institutional agendas that readers have to have interaction with to be able to take pleasure in glossy theatre in all its complexity.
- An authoritative consultant 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 coated comprise: nationwide, neighborhood and fringe theatres; post-colonial levels and multiculturalism; feminist and queer theatres; intercourse and consumerism; expertise and globalisation; representations of struggle, terrorism, and trauma.
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Additional info for Companion to Modern British and Irish Drama: 1880 to the Present
Even the developing republican undertone may ultimately be connected back to the monarchy, which was apparently so secure in the later 1780s that people felt free to engage in all kinds of subversive debate. One consequence was that the Americans in the late eighteenth century came to believe that under the skin of monarchy England was a republic in all but name (Wood 1991: passim). ‘In the theatre’, said Victor Hugo, ‘the mob becomes a people’ (see Yeats 1955a: 461). Such a shaping of the modern democratic polis has been rehearsed in the dramas of England over the past half-century.
Cambridge: Cambridge University Press. ) (2005). Irish Theatre on Tour. Dublin: Carysfort Press. Kearney, Richard (1988). Transitions: Narratives in Irish Culture. Manchester: Manchester University Press. Kearney, Richard (2002). On Stories. London and New York: Routledge. Domestic and Imperial Politics Kiberd, Declan (1996). Inventing Ireland: The Literature of the Modern Nation. London: Vintage. ) (2002). Reinventing Ireland. London: Pluto. Lee, J. J. (1990). Ireland 1912–1985. Cambridge: Cambridge University Press.
Similarly, Larry Doyle’s ambiguous position between modernity and Ireland11 might be set against Owen in Translations (1980), and against the highly complex border-crosser, Sanbatch Daly, in The Wood of the Whispering (see Merriman 2004). Reading Sanbatch and Sadie as an ironic restaging of the English/Irish heterosexual couple has considerable potential as a challenge to critical perspectives on other reworkings of this primal figuration. Performances are circumscribed as much as liberated by the dynamics of the theatrical encounter, elegantly schematized by Susan Bennett (Bennett 1992: 183).
Companion to Modern British and Irish Drama: 1880 to the Present by Mary Luckhurst