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By Mary Luckhurst

This wide-ranging Companion to trendy British and Irish Drama deals not easy analyses of more than a few performs of their political contexts. It explores the cultural, social, monetary and institutional agendas that readers have to have interaction with with a purpose to relish glossy theatre in all its complexity.

  • An authoritative advisor to fashionable British and Irish drama.
  • Engages with theoretical discourses tough a canon that has privileged London in addition to white English men and realism.
  • Topics coated comprise: nationwide, neighborhood and fringe theatres; post-colonial phases and multiculturalism; feminist and queer theatres; intercourse and consumerism; expertise and globalisation; representations of conflict, terrorism, and trauma.

Content:
Chapter 1 household and Imperial Politics in Britain and eire: The Testimony of Irish Theatre (pages 7–21): Victor Merriman
Chapter 2 Reinventing England (pages 22–34): Declan Kiberd
Chapter three Ibsen within the English Theatre within the Fin De Siecle (pages 35–47): Katherine Newey
Chapter four New girl Drama (pages 48–60): Sally Ledger
Chapter five Shaw one of the Artists (pages 63–74): Jan McDonald
Chapter 6 Granville Barker and the courtroom Dramatists (pages 75–86): Cary M. Mazer
Chapter 7 Gregory, Yeats and Ireland'S Abbey Theatre (pages 87–98): Mary Trotter
Chapter eight Suffrage Theatre: neighborhood Activism and Political dedication (pages 99–109): Susan Carlson
Chapter nine Unlocking Synge at the present time (pages 110–124): Christopher Murray
Chapter 10 Sean O'Casey's robust Fireworks (pages 125–137): Jean Chothia
Chapter eleven Auden and Eliot: Theatres of the Thirties (pages 138–150): Robin Grove
Chapter 12 Empire and sophistication within the Theatre of John Arden and Margaretta D'Arcy (pages 153–163): Mary Brewer
Chapter thirteen while was once the Golden Age? Narratives of Loss and Decline: John Osborne, Arnold Wesker and Rodney Ackland (pages 164–174): Stephen Lacey
Chapter 14 A advertisement luck: ladies Playwrights within the Nineteen Fifties (pages 175–187): Susan Bennett
Chapter 15 domestic ideas from in another country: Mustapha Matura (pages 188–197): D. Keith Peacock
Chapter sixteen The is still of the British Empire: the performs of Winsome Pinnock (pages 198–209): Gabriele Griffin
Chapter 17 Wilde's Comedies (pages 213–224): Richard Allen Cave
Chapter 18 continuously appearing: Noel Coward and the acting Self (pages 225–236): Frances Gray
Chapter 19 Beckett'S Divine Comedy (pages 237–246): Katharine Worth
Chapter 20 shape and Ethics within the Comedies of Brendan Behan (pages 247–257): John Brannigan
Chapter 21 Joe Orton: Anger, Artifice and Absurdity (pages 258–268): David Higgins
Chapter 22 Alan Ayckbourn: Experiments in Comedy (pages 269–278): Alexander Leggatt
Chapter 23 'They either upload as much as Me': the common sense of Tom Stoppard'S Dialogic Comedy (pages 279–288): Paul Delaney
Chapter 24 Stewart Parker's Comedy of Terrors (pages 289–298): Anthony Roche
Chapter 25 Awounded degree: Drama and global struggle I (pages 301–315): Mary Luckhurst
Chapter 26 Staging ‘The Holocaust’ in England (pages 316–328): John Lennard
Chapter 27 Troubling views: Northern eire, the ‘Troubles’ and Drama (pages 329–340): Helen Lojek
Chapter 28 On battle: Charles Wood's army sense of right and wrong (pages 341–357): sunrise Fowler and John Lennard
Chapter 29 Torture within the performs of Harold Pinter (pages 358–370): Mary Luckhurst
Chapter 30 Sarah Kane: from Terror to Trauma (pages 371–382): Steve Waters
Chapter 31 Theatre because 1968 (pages 385–397): David Pattie
Chapter 32 Lesbian and homosexual Theatre: All Queer at the West finish entrance (pages 398–408): John Deeney
Chapter 33 Edward Bond: Maker of Myths (pages 409–418): Michael Patterson
Chapter 34 John Mcgrath and well known Political Theatre (pages 419–428): Maria DiCenzo
Chapter 35 David Hare and Political Playwriting: among the 3rd method and the everlasting method (pages 429–440): John Deeney
Chapter 36 Left in entrance: David Edgar's Political Theatre (pages 441–453): John Bull
Chapter 37 Liz Lochhead: author and Re?Writer: tales, old and glossy (pages 454–465): Jan McDonald
Chapter 38 ‘Spirits that experience develop into suggest and Broken’: Tom Murphy and the ‘Famine’ of contemporary eire (pages 466–475): Shaun Richards
Chapter 39 Caryl Churchill: Feeling international (pages 476–487): Elin Diamond
Chapter forty Howard Barker and the Theatre of disaster (pages 488–498): Chris Megson
Chapter forty-one studying historical past within the performs of Brian Friel (pages 499–508): Lionel Pilkington
Chapter forty two Marina Carr: Violence and Destruction: Language, area and panorama (pages 509–518): Cathy Leeney
Chapter forty three Scrubbing up great? Tony Harrison's Stagings of the previous (pages 519–529): Richard Rowland
Chapter forty four The query of Multiculturalism: the performs of Roy Williams (pages 530–540): D. Keith Peacock
Chapter forty five Ed Thomas: Jazz images within the Gaps of Language (pages 541–550): David Ian Rabey
Chapter forty six Theatre and expertise (pages 551–562): Andy Lavender

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Extra resources for A Companion to Modern British and Irish Drama 1880-2005

Sample text

A. A. H. Inglis. Harmondsworth: Penguin, 373–4; and for the second D. H. Lawrence (1969). Women in Love. Harmondsworth: Penguin, 341. 34 Declan Kiberd Primary reading Brenton, Howard (1980). The Romans in Britain. London: Methuen. ) Osborne, John (1966). Look Back in Anger. London: Faber and Faber. Osborne, John (1981). A Better Class of Person. London: Methuen. Rushdie, Salman (1988). The Satanic Verses. London: Viking. Shaw, George Bernard (1962) in David H. Green and Dan H. ). The Matter with Ireland.

The Playboy of the Western World and Other Plays. Oxford: Oxford University Press, 96–7. Yeats, W. B. (1991). Cathleen ni Houlihan in A. ). W. B. Yeats: Selected Plays. Dublin: Gill and Macmillan, 2–13. Yeats, W. B. (2000). ). W. B. Yeats: Poems Selected by Seamus Heaney. London: Faber, 60–2, 122, 130. Further reading Amkpa, Awam (2004). Theatre and Postcolonial Desires. London and New York: Routledge. Bennett, Susan (1992). Theatre Audiences: A Theory of Production and Reception. London and New York: Routledge.

H. Inglis. Harmondsworth: Penguin, 373–4; and for the second D. H. Lawrence (1969). Women in Love. Harmondsworth: Penguin, 341. 34 Declan Kiberd Primary reading Brenton, Howard (1980). The Romans in Britain. London: Methuen. ) Osborne, John (1966). Look Back in Anger. London: Faber and Faber. Osborne, John (1981). A Better Class of Person. London: Methuen. Rushdie, Salman (1988). The Satanic Verses. London: Viking. Shaw, George Bernard (1962) in David H. Green and Dan H. ). The Matter with Ireland.

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