Contemporary British Theatre

Breaking New Ground

Contemporary British Theatre

This edited collection brings together a team of internationally prominent academics and delivers cutting-edge discourse on the strongly emerging tradition of experimentation in contemporary British theatre - redefining what the dramatic stands for today. Each chapter of the collection focuses on influential contemporary plays and playwrights.

Contemporary British Theatre

Contemporary British Theatre

Contemporary British Theatre surveys the complex and dynamic theatre of the eighties and early nineties reflecting a country that is multicultural, multiethnic and multinational. The contributors - artists, scholars and critics - offer insights into the unique forms of theatre performance devised to express the tensions and pressures of our time. For the paperback edition a new preface has been written, including several updating pieces from individual contributors.

Ethical Speculations in Contemporary British Theatre

Ethical Speculations in Contemporary British Theatre

This volume is the first to offer a comprehensive critical examination of the intersections between contemporary ethical thought and post-1989 British playwriting. Its coverage of a large number of plays and playwrights, international range of contributors and original argumentation make it a key point of reference for students and researchers.

Rethinking Character in Contemporary British Theatre

Aesthetics, Politics, Subjectivity

Rethinking Character in Contemporary British Theatre

The category of theatrical character has been swiftly dismissed in the academic reception of no-longer-dramatic texts and performances. However, claims on the dissolution of character narrowly demarcate what a subject is and how it may appear. This volume unmoors theatre scholarship from the regulatory ideals of liberal humanism, stretching the notion of character to encompass and illuminate otherwise unaccounted-for subjects, aesthetic strategies and political gestures in recent theatre works. To this aim, contemporary philosophical theories of subjectivation, European theatre studies, and experimental, script-led work produced in Britain since the late 1990s are mobilised as discussants on the question of subjectivity. Four contemporary playtexts and their performances are examined in depth: Sarah Kane’s Crave and 4.48 Psychosis, Ed Thomas’s Stone City Blue and Tim Crouch’s ENGLAND. Through these case studies, Delgado-García demonstrates alternative ways of engaging theoretically with character, and elucidating a range of subjective figures beyond identity and individuality. Alongside these analyses, the book traces a large body of work that has experimented with speech attribution since the early twentieth-century. This is a timely contribution to contemporary theatre scholarship, which demonstrates that character remains a malleable and politically-salient notion in which understandings of subjectivity are still being negotiated.

Liveness on Stage

Intermedial Challenges in Contemporary British Theatre and Performance

Liveness on Stage

Theatre is traditionally considered a live medium but its ‘liveness’ can no longer simply be taken for granted in view of the increasing mediatisation of the stage. Drawing on theories of intermediality,Liveness on Stageexplores how performances that incorporate film or video self-reflexively stage and challenge their own liveness by contrasting or approximating live and mediatised action. To illustrate this, the monograph investigates key aspects such as ‘ephemerality’, ‘co-presence’, ‘unpredictability’, ‘interaction’ and ‘realistic representation’ and highlights their significance for re-evaluating received notions of liveness. The analysis is based on productions by Gob Squad, Forkbeard Fantasy, Station House Opera, Proto-type Theater, Tim Etchells and Mary Oliver. In their playful approaches these practitioners predominantly present such media combination as a means of cross-fertilisation rather than as an antagonism between liveness and mediatisation. Combining an original theoretical approach with an in-depth analysis of the selected productions, this study will appeal to scholars and practitioners of theatre and performance as well as to those researching intermedial phenomena.

Contemporary British Drama

Contemporary British Drama

This book offers an extended analysis of writers and theatre companies in Britain since 1995, and explores them alongside recent cultural, social and political developments. Referencing well-known practitioners from modern theatre, this book is an excelle

Feminist Stages

Interviews with Women in Contemporary British Theatre

Feminist Stages

Feminist Stages draws together the voices of more than fifty women currently working in the theatres of England, Wales, Scotland and Ireland. It asks provocative questions: What is Feminism? Does gender matter in the theatre? Is there a "female" or "feminist" way of working in the theatre? Are things changing for women in the theatre today? These women speak across generations, sometimes at cross purposes. They speak from individual positions with regard to race, class, sexuality and regional identity, and approaches to performance. About the Author and Researcher Lizbeth Goodman is Lecturer (Theatre Studies/Gender Studies specialist) at the Open University. She also produces and directs comedy at the Gate Theatre, London. Jane de Gay is a Research Assistant working on the Gender, Politics, Performance Research Project (chaired by Lizbeth Goodman for the Open University). She is also completing at Ph.D. study about the work of Virginia Woolf.

The Cambridge History of British Theatre

The Cambridge History of British Theatre

Explores the rich and complex histories of English, Scottish and Welsh theatres in the 'long' twentieth century since 1895.