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

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

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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2

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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3

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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5

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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6

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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7

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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8

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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10

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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11

Allen, David. "Exploring the Limitless Depths: Mike Alfreds Directs Chekhov." New Theatre Quarterly 2, no. 8 (1986): 320–35. http://dx.doi.org/10.1017/s0266464x00002335.

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‘Deadly British productions of Chekhov remain all too common.’ Or so suggests David Allen, who finds in the Chekhov productions of Mike Alfreds a refreshing recognition of the distinctively ‘Russian’ qualities of the plays, and an ability to render these in terms of the choices available to British actors. Mike Alfreds founded the Shared Experience company in 1975, and in Theatre Quarterly No. 39 (1981). Clive Barker interviewed him and members of the company on the processes of collective creation through which most of their productions then evolved: the present feature thus in part reflects

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12

Burt, Philippa. "The Merry Wives of Moscow: Komisarjevsky, Shakespeare, and Russophobia in the British Theatre." New Theatre Quarterly 32, no. 4 (2016): 375–90. http://dx.doi.org/10.1017/s0266464x16000440.

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Theodore Komisarjevsky was a prominent figure in the inter-war British theatre until his migration to North America in 1936. While recent studies have foregrounded the various artistic factors that influenced his work and his eventual departure, little attention has been placed on the sociopolitical issues. Most notably, there has been no serious consideration of the impact that his nationality had on the opportunities that were available to him. In this article Philippa Burt examines Komisarjevsky's work in relation to the growing nationalistic and Russophobic attitudes in Britain during the

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13

Burt, Philippa. "‘The Best Thing I Ever Did on the Stage’: Edward Gordon Craig and the Purcell Operatic Society." New Theatre Quarterly 38, no. 3 (2022): 258–69. http://dx.doi.org/10.1017/s0266464x22000185.

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Although lasting only two and a half years, Edward Gordon Craig’s engagement with the Purcell Operatic Society was his most consistent and productive period of work on the stage. This article re-examines this time during Craig’s life in order to ascertain why he saw it to be the zenith of his career. In particular, it analyzes his work with the amateur group to argue that it was foundational in the development of his approach to theatre-making and, further, helped him to introduce the entity of theatre director to Britain and what the role of such a person could be. By examining this material

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14

Shepherd, Simon. "---------------TEAR HERE--------------." Journal of the British Academy 12 (September 19, 2024): 0. http://dx.doi.org/10.5871/jba/012.a33.

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This contribution is a record—apparently—of a presentation about the function and effects of dramatic performance within communities. It lurched from the Covid pandemic and the British government’s ‘levelling-up’ project back, over a century earlier, to the beginnings of the municipal and amateur theatre movements. These latter produced some of the earliest formulations of the idea that participation in performance-making enables self-expression and a sense of fellowship, thus building community. But, as Granville Barker, one of its greatest proponents, warned, this same activity, where it’s n

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15

Trussler, Simon. "Remembering Arnold Wesker: Loose Connections from Left Field." New Theatre Quarterly 32, no. 4 (2016): 391–94. http://dx.doi.org/10.1017/s0266464x16000452.

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Arnold Wesker, who died in April 2016, denied having been an ‘angry young man’ and, though the cliché clung, he declared, ‘But I am an angry old man.’ In this memoir, Simon Trussler, while reflecting on causes for the anger, does not attempt an analysis of the life and works, but recollects the times when their shared interests and intentions brought them into contact, and explores some of the reasons why the youthful climb to a peak of success was followed by a slow decline not in output or activity but in the critical response to a writer perceived as having gone out of fashion. NTQ's former

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16

Sporton, Gregory. "Power as Nostalgia: the Bolshoi Ballet in the New Russia." New Theatre Quarterly 22, no. 4 (2006): 379–86. http://dx.doi.org/10.1017/s0266464x0600056x.

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The economic and political transition of the old Soviet Union into Putin's Russia has been given plenty of attention over the past few years, with emphasis on free markets and democratic choice much in evidence. In this essay Gregory Sporton discusses the less often considered difficulties of the social transition towards a New Russia. The role of ballet in the culture of the Soviet Union occasionally leads to some embarrassment for those who think the arts represent freedom; and here the symbolic power of the nation's most political theatre, the Bolshoi, is examined at the point of its renova

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17

Barnes, Peter. "On Class, Christianity, and Questions of Comedy." New Theatre Quarterly 6, no. 21 (1990): 5–24. http://dx.doi.org/10.1017/s0266464x00003936.

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Peter Barnes was born in 1931, and has been writing for the theatre since 1963: but he remains resolutely uncommercial, and enjoys even among enthusiasts an essentially cult following – though this includes Terry Hands, who directed his most recent work to reach the stage. Red Noses, for the RSC at the Barbican in 1985. The Ruling Class, his ‘baroque comedy’ on the British aristocracy and the ways it exercises power, helped to bring him the John Whiting Award in 1968 and the Evening Standard award as most promising playwright of 1969, though many found his ‘neo-Jacobean’ portrait of a sublimel

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18

Lundskær-Nielsen, Tom, David Isitt, Jeremy Lane, et al. "Reviews and notices." Moderna Språk 96, no. 2 (1992): 177–223. http://dx.doi.org/10.58221/mosp.v96i2.10237.

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Includes the following reviews: pp. 177-180. Tom Lundskær-Nielsen. Ljungs, M. & Ohlander, S., Gleerups engelska grammatik. pp. 180-182. David Isitt. Oakland, J., British Civilization: An Introduction. + MacQueen, D., Americal Social Studies: A University Primer. + Lundén, R. & Srigley, M. (eds.), Ideas and Identities: British and American Culture. pp. 182-183. Jeremy Lane. Watson, G., British Literature since 1945.  pp. 183-184. Alistair Davies. Katz, W. & Sternberg Katz, L. (eds.), The Columbia Granger's Guide to Poetry Anthologies. pp. 184-185. Berti

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19

Scullion, Adrienne. "British Theatre Between the Wars, 1918–1939. Edited by Clive Barker and Maggie B. Gale. Cambridge: Cambridge University Press, 2001. Pp. x + 260 + illus. £40/$59.95 Hb." Theatre Research International 28, no. 1 (2003): 96–121. http://dx.doi.org/10.1017/s030788330331017x.

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20

Pradnya, S. Yenkar. "PIONEERS OF REPERTORY THEATRES." August 10, 2019. https://doi.org/10.5281/zenodo.3404981.

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The staging of Shakespeare?s plays was revolutionized by Granville-Barker?s productions at the Savoy Theatre, which were admired for their simplicity, fluidity, and speed. Equally significant for the British theatre was the founding of the first provincial repertory theatre in 1908 by Horniman at the Gaiety, Manchester. It not only provided opportunities for promising British playwrights but also presented works by important Continental dramatists. Mainstream British theatre paid very little attention to the antirealistic movements that characterized experimental theatre in the rest of Europe.

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21

Acland, Charles. "Matinees, Summers and Opening Weekends." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1824.

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Newspapers and the 7:15 Showing Cinemagoing involves planning. Even in the most impromptu instances, one has to consider meeting places, line-ups and competing responsibilities. One arranges child care, postpones household chores, or rushes to finish meals. One must organise transportation and think about routes, traffic, parking or public transit. And during the course of making plans for a trip to the cinema, whether alone or in the company of others, typically one turns to locate a recent newspaper. Consulting its printed page lets us ascertain locations, a selection of film titles and thei

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22

Hightower, Ben, and Scott East. "Protest in Progress/Progress in Protest." M/C Journal 21, no. 3 (2018). http://dx.doi.org/10.5204/mcj.1454.

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To sin by silence, when we should protest,Makes cowards out of men.— Ella Wheeler WilcoxProtest is culturally entwined in historical and juro-political realities and is a fundamental element of the exercise of individual and collective rights. As our title notes, while there are currently many ‘protests in progress’ around the world, there is also a great deal of ‘progress in protest’ in terms of what protests look like, their scale and number, how they are formed and conducted, their goals, how they can be studied, as well as the varying responses formed in relation to protest. The etymology

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23

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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