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Relevant bibliographies by topics / Barker's British theatre

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Academic literature on the topic 'Barker's British theatre'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Barker's British theatre"

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Midhin, Majeed Mohammed, and Ahmed Hameed Obeid. "An Analytical Study of Theatre and censorship in Howard Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984)." Dirasat: Human and Social Sciences 50, no. 6 (2023): 265–75. http://dx.doi.org/10.35516/hum.v50i6.7081.

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Objectives: This paper explores the use of history in contemporary British theatre to address issues like marginalization and censorship, focusing on Barker's theatre theory, which diverges from early works by Churchill and Hare. Emphasizing the artist's role and responsibilities, it delves into potential dilemmas faced in the realm of contemporary British theatre.  Methods: This study critically analyzes Barker's plays, "No End of Blame: Scenes of Overcoming" (1981) and "Scenes from an Execution" (1984), through the lens of his influential book, "Arguments for a Theatre." Additionally,

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Burt, Philippa. "From the Western Front to the East Coast: Barker's The Trojan Women in the USA." New Theatre Quarterly 34, no. 4 (2018): 326–38. http://dx.doi.org/10.1017/s0266464x18000404.

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When Harley Granville Barker was invited to stage a theatre season in New York following the outbreak of the First World War, senior figures within British politics seized on it as an opportunity to promote the British war effort in the United States. It was, however, Barker's impromptu decision to extend his stay and tour Euripides’ The Trojan Women to major colleges on the East Coast that saw him come close to realizing this goal. Through an examination of the production, the discourse that surrounded it, and the changing diplomatic relations between Britain and the USA, Philippa Burt explor

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Burt, Philippa. "Granville Barker's Ensemble as a Model of Fabian Theatre." New Theatre Quarterly 28, no. 4 (2012): 307–24. http://dx.doi.org/10.1017/s0266464x12000619.

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While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifie

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4

Shaughnessy, Robert. "Howard Barker, the Wrestling School, and the Cult of the Author." New Theatre Quarterly 5, no. 19 (1989): 264–71. http://dx.doi.org/10.1017/s0266464x0000333x.

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Howard Barker was the last playwright to be interviewed in the original Theatre Quarterly – in TQ40 (1981) – and a subsequent interview was included in NTQ8 (1986). Yet he has also been accused of encouraging a credo of ‘engagement but confusion’ which serves the cult of Thatcherism which it claims to oppose: and certainly he is unique among his generation of British dramatists in having achieved both a large cult following, and a considerable body of opposition to his theoretical position. Robert Shaughnessy, who teaches in the Roehampton Institute, here analyzes not so much Barker's work as

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Arf, Pshtiwan M. "The Status of Language in Howard Barker’s Theatrical World." KOYA UNIVERSITY JOURNAL OF HUMANITIES AND SOCIAL SCIENCES 8, no. 1 (2025): 539–44. https://doi.org/10.14500/kujhss.v8n1y2025.pp539-544.

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Howard Barker as postmodern British dramatist pays great attention to the freedom of expression and writing; he defies political and ideological censorship on British theater. Freedom of expression is well reflected in all his plays since the 1980s. He is well-known for his point of view that theater should not be used to deliver any moral, political, or ideological message, it should be left for the audience for interpretation. The composition and style of language are features of Barker’s plays that overflow with richness and diversity This paper discusses the theatrical language of Howard B

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Kershaw, Baz. "Innovative Spirit at the Heart of Theatre Studies." New Theatre Quarterly 21, no. 3 (2005): 203–4. http://dx.doi.org/10.1017/s0266464x05210102.

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Clive Barker made an exceptional contribution to British theatre studies and its international standing. No one else of his generation travelled the extraordinary distance from a conventional stage-management course to become a world leader in actor training workshops, as well as an editor and scholar of distinction. He was a pioneer in bridging the uneasy divide between the professional theatre and its serious study in British universities.

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Klotz, Günther. "Howard Barker: Paradigm of Postmodernism." New Theatre Quarterly 7, no. 25 (1991): 20–26. http://dx.doi.org/10.1017/s0266464x00005157.

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The plays of Howard Barker are probably more fervently admired and resolutely disliked than those of any other British dramatist of his generation. Although we have twice published interviews with the playwright about his life and work – first in the original Theatre Quarterly, TQ40 (1981), and more recently in NTQ8 (1986) – subsequent articles in NTQ have tended to be critical of his achievements: we are therefore pleased to present here a view of two of his latest plays, The Last Supper and The Bite of the Night, which, while recognizing precisely those qualities for which Barker has often b

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Symposium, NTQ. "Theatre in Thatcher's Britain: Organizing the Opposition." New Theatre Quarterly 5, no. 18 (1989): 113–23. http://dx.doi.org/10.1017/s0266464x00003006.

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On 7 May 1988 a meeting was held at Goldsmiths' College, London, involving a number of theatre practitioners and academics on the left, to discuss the current state of British theatre under Thatcherism and suggest some possible responses. The meeting was organized by Vera Gottlieb, and NTQ Editor Simon Trussler, who both teach in the Drama Department at Goldsmiths' College. Also present were Clive Barker, Pam Brighton, Colin Chambers, Trevor Griffiths, Peter Holland, Kate Harwood, Albert Hunt, Nesta Jones, John McGrath, Paul Moriarty, Rob Ritchie, and Juliet Stevenson. Apologies for absence we

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9

Shellard, Dominic. "Strategies of Political Theatre: Post-War British Playwrights. By Michael Patterson. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2003; pp. 232. $70 cloth." Theatre Survey 45, no. 2 (2004): 301–3. http://dx.doi.org/10.1017/s0040557404320260.

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In this clear, concise, and accessible volume, Michael Patterson sets himself the task of examining “the work of nine talented and innovative British playwrights who shared a laudable but strange conviction: that by writing plays and having them performed they might help to change the way society is structured” (1). As if conscious of the inevitable charge that by focusing on Wesker, Arden, Griffiths, Barker, Brenton, McGrath, Hare, Bond, and Churchill he is perpetuating the damaging myth that political theatre in postwar Britain centers on these usual suspects, Patterson takes pains to define

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Zien, Katherine. "Troubling Multiculturalisms: Staging Trans/National Identities in Teatro de Ciertos Habitantes's El gallo." Theatre Survey 55, no. 3 (2014): 343–61. http://dx.doi.org/10.1017/s0040557414000350.

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The collaborative “antiopera” El gallo: Ópera para actores (The Cock: An Opera for Actors), which was produced from 2007 to 2009 by Mexican theatre company Teatro de Ciertos Habitantes (hereafter referred to as Ciertos Habitantes) and British composer Paul Alan Barker, toured for three years to dozens of venues in Mexico and abroad, garnering numerous awards and accruing more than a hundred performances. Performed in speech/song gibberish, El gallo mingles physical theatre and butoh techniques. The piece chronicles the making of an opera, from auditions through rehearsals and performance, alon

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Dissertations / Theses on the topic "Barker's British theatre"

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Dekker, Nicholas John. "The Modern Catalyst: German Influences on the British Stage, 1890-1918." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180431503.

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Midhin, Majeed Mohammed. "The artist as a dramatic character in contemporary British drama : a critical study of Stoppard, Barker and Wertenbaker." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20011/.

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The focus of this dissertation is the representation of the artist as a character in British theatre. In this study, which includes three chapters and one introductory chapter, I attempt to show that British playwrights, whether male or female, use their main fictional characters as artists either for self-reflexivity or to comment on the situation of being an artist. In accordance with the above premise, the responsibility of the artist and the function of art is investigated with due reference to radical thinkers, philosophers and writers such as, among others, Immanuel Kant, Oscar Wilde, Ge

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Books on the topic "Barker's British theatre"

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Damassa, Julia. Silencing the noise of myth: Women and related themes in the plays of Timberlake Wertenbaker and Howard Barker (with reference to Barker's 'Argumentsfor a theatre' and in the light of developments in the Women's Movement in the West and in contemporary British theatre). University of Salford, 1992.

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Chamberlain, Franc, and Charles Lamb. Howard Barker's Theatre of Seduction. Taylor & Francis Group, 2005.

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Charles, Lamb. Howard Barker's Theatre of Seduction (Routledge Harwood Contemporary Theatre Studies). Routledge, 1997.

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Barker, Howard. Arguments for a Theatre. 4th ed. Oberon Books Ltd, 2016. http://dx.doi.org/10.5040/9781350924505.

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This new edition of Barker’s seminal text Arguments for a Theatre outlines the theory and practice of his ‘Theatre of Catastrophe’. Author of over thirty plays, Howard Barker has long been an implacable foe of the liberal British establishment, and champion of radical theatre world-wide. His best-known plays are The Castle, Scenes from an Execution and The Possibilities. All his plays are emotionally highly charged, intellectually stimulating and have no truck with the theatrical conventions of what he terms the ‘Establishment Theatre’. These fragments, essays, thoughts and poems on the nature

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Cavecchi, Mariacristina. The Art Gallery on Stage. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350350519.

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The Art Gallery on Stage is the first book to consider the representation of the art gallery on the contemporary British stage and to discuss how playwrights have begun to regard it as inspiration, location, focus or theme in an ever-more intense game of cross-fertilization. The study analyzes the impact on dramatic form and theatrical presentation of what has been a paradigmatic shift in the way art galleries and museums display their collections and how these are perceived, establishing a hitherto unexplored connection between modes of exhibiting and modes of representation. It traces a traj

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Minden, Gabriela. Modernism after the Ballets Russes. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198951704.001.0001.

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Abstract Modernism after the Ballets Russes recovers the striking yet understudied role that Serge Diaghilev’s Ballets Russes played in the development of modernist theatre in Britain. Diaghilev’s company holds a renowned position in modernism across various arts. Yet its contributions to dramatic literature and dramaturgy have remained surprisingly elusive. This book establishes the Ballets Russes as an integral part of British theatre history, revealing how the company’s avant-garde repertoire inspired the creation of new composition strategies and performance techniques that privileged the

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Book chapters on the topic "Barker's British theatre"

1

Wilcher, Robert. "Honouring the Audience: the Theatre of Howard Barker." In British and Irish Drama since 1960. Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22762-4_13.

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Barker, Howard. "Theatre without a Conscience (1990)." In Modern Theories of Drama. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0008.

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Abstract In his dramatic output of over fifty works for stage, radio, television, and film, the English author Howard Barker (b. 1946) occupies a singular niche. Though originally taking a left-wing satirical stance he has come to advocate a morally and politically ambiguous ‘Theatre of Catastrophe’; this aggressively black viewpoint he has defended in a collection of essays, Arguments for a Theatre. The following piece from that book was first delivered as a paper at the University College of Wales, Aberystwyth, in 1990. Barker’s plays present striking but ambiguous images rather than convent

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"Barker and the British theatre." In The Theatre of Howard Barker. Routledge, 2004. http://dx.doi.org/10.4324/9780203324288-7.

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