Relevant bibliographies by topics / British playwrights 1970s

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Academic literature on the topic 'British playwrights 1970s'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "British playwrights 1970s"

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Green, Kai Roland. "Attempts on (writing) her life: ethics and ontology in pro-feminist playwriting." Performance Philosophy 2, no. 2 (2017): 286. http://dx.doi.org/10.21476/pp.2017.2286.

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Does a feminist dramaturgy exist for male playwrights? The post-1990s work of British playwrights Simon Stephens, Tim Crouch and Martin Crimp variously enact an attrition between female protagonists and male writers. Appraising these "attempts on (writing) her life" requires a feminist criticality that can incorporate the unique, intersubjective relation of playwright and character. What is the gendered relationship of these actors? In the manner of Performance/Philosophy, this essay finds that Levinasian fecundity answers this call – finding a crucial space for continental philosophy in the pro-feminist movement. Drawing on the philosophical significance of “objectification”, this essay argues that ethical portrayals of gender - in Peggy Phelan’s notion of the ‘representational economy’ - bestow a responsibility upon male playwrights to explore the potential to contribute to feminist critical writing. Whether this is a matter of ontology – and the essentialism of sexual difference that accompanies such a position – is weighed against the ethics of men-writing-women.
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Liarou, Eleni. "Writing refugees into television history." Critical Studies in Television: The International Journal of Television Studies 13, no. 1 (2018): 60–78. http://dx.doi.org/10.1177/1749602017748473.

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This article examines the work of playwright Leo Lehman for British television in the 1950s and 1960s. Originally from Poland, Lehman came to England as a refugee during the Second World War. The study of Lehman’s work, and particularly his stories about refugees and asylum, opens a window to a still largely unmapped history of remarkable cultural diversity on British screens and beyond. This case study also sheds light on the ways in which the history of British television cuts across national borders and intersects with European history.
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Crimp, Martin. "Martin Crimp in conversation with Aleks Sierz The Question Is the Ultimate in Discomfort." New Theatre Quarterly 22, no. 4 (2006): 352–60. http://dx.doi.org/10.1017/s0266464x06000534.

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Martin Crimp is one of the most exciting British playwrights to have emerged since the 1980s: his work is characterized by its vision of contemporary society as a place of social decay, moral compromise, and barely suppressed violence. He is also a writer whose work engages with both British and European theatre traditions. He started his career in 1981 at the Orange Tree Theatre, a fringe venue in Richmond, and this theatre produced all his early work, including Dealing with Clair and Play with Repeats. But it was when he became a Royal Court playwright in 1990, with No One Sees the Video, that he achieved international success and recognition. Three plays in particular – The Treatment, Attempts on Her Life and The Country – have become recognized masterpieces. Crimp has also pursued a parallel career as a translator and adapter of classics such as Molière's The Misanthrope and Sophocles' The Women of Trachis (as Cruel and Tender). The interview with Aleks Sierz which follows is assembled from conversations with Martin Crimp in London during February and March 2006, and the NTQ Checklist of Crimp's work on page 361 is derived from materials assembled by Sierz for his forthcoming book from Methuen, The Theatre of Martin Crimp.
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Simpson, Hannah. "Trying Again, Failing Again: Samuel Beckett and the Sequel Play." New Theatre Quarterly 37, no. 3 (2021): 258–72. http://dx.doi.org/10.1017/s0266464x21000166.

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Samuel Beckett’s Waiting for Godot has spawned several unauthorized sequel plays, which see Godot arrive on stage in 1960s Yugoslavia, 1980s Ireland, 1990s North America, and early 2000s Japan. The sequel play is a largely ignored phenomenon in literary scholarship, with the sequel form itself routinely dismissed as a derivative and inevitably disappointing text. Yet the sequel also re-situates and re-evaluates the original text, and its reiterative nature aptly parallels the paradox of non-ending in Beckett’s original Waiting for Godot. Focusing on four unauthorized stage sequels to Beckett’s play – Miodrag Bulatović’s Godo je došao (Godot Has Arrived, 1966), Alan Titley’s Tagann Godot (Godot Arrives, 1987), Daniel Curzon’s Godot Arrives (1999), and Minoru Betsuyaku’s Yattekita Godot (Godot Has Come, 2007) – this article examines how these sequels rework the cultural logic of Godot’s arrival to their own critical and political ends. These playwrights draw on the very recursive, even frustrating, nature of the sequel form itself as an exegetic framework, reproducing the trope of non-ending that characterizes Beckett’s own work. Hannah Simpson is the Rosemary Pountney Junior Research Fellow in British and European Drama at St Anne’s College, University of Oxford. She is currently working on two forthcoming Beckett-related monographs: Witnessing Pain: Samuel Beckett and Post-War Francophone Theatre and Samuel Beckett and Disability Performance.
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Freeman, Sara. "Towards a Genealogy and Taxonomy of British Alternative Theatre." New Theatre Quarterly 22, no. 4 (2006): 364–78. http://dx.doi.org/10.1017/s0266464x06000558.

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In the third volume of The Cambridge History of British Theatre (2004), editor Baz Kershaw initiates his chapter ‘Alternative Theatres, 1946–2000’ with a short discussion of ‘contesting terms’ used by commentators to describe theatre outside the mainstream in the second half of the twentieth century. Kershaw's discussion serves as a necessary preface to ground his use of multiple historiographical strategies to address the subject with necessary brevity. But teasing out the terminology used to describe alternative theatre remains a fascinatingly complex task, constitutive of precisely the issues at stake in the variant historiographical approaches to the post-war period. Using a genealogical approach inspired by Foucault, and drawing on first-person interviews with artists who worked with alternative theatre companies such as Joint Stock/Out of Joint, Gay Sweatshop, and Women's Theatre Group/The Sphinx across the closing decades of the twentieth century, Sara Freeman analyzes the branching relationships of these terms, arguing the need to develop useful rather than funerary or bewildered historiographical approaches to the 1980s and 1990s. Sara Freeman is Assistant Professor of Theatre at Illinois Wesleyan University. Her research focuses on contemporary women playwrights and British alternative theatre, and she has published articles and reviews in Theatre Survey, Modern Drama, Comparative Drama, New England Theatre Journal, and Theatre Journal. Work on this article was supported by an Artistic and Scholarly Development Grant from Illinois Wesleyan University.
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Hillman, Rebecca. "(Re)constructing Political Theatre: Discursive and Practical Frameworks for Theatre as an Agent for Change." New Theatre Quarterly 31, no. 4 (2015): 380–96. http://dx.doi.org/10.1017/s0266464x1500069x.

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In 2015 the concept of live performance as having efficacy to instigate political change is contested, yet some politically motivated performance has demonstrably facilitated change, and critical frameworks have been developed that account for performances that hold clear political stances. However, even where arguments exist for the enduring relevance of political performance, certain models of practice tend to be represented as more efficacious and sophisticated than others. In this article, inspired by her recent experiences of making political theatre, Rebecca Hillman asks to what extent prevalent discourses may nurture or repress histories and futures of political theatre. She re-evaluates the contemporary relevance of agitprop theatre made in British contexts in the 1960s and 1970s by comparing academic analyses of the work with less well-documented critiques by the practitioners and audiences. She documents also the fluctuation and transformation, rather than the dissipation, of political activism in the final decades of the twentieth century. Rebecca Hillman is a director and playwright, and is a Lecturer in Drama at the University of Exeter..
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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 his terms. Political theatre for the purposes of his volume “implies the possibility of radical change on socialist lines: the removal of injustice and autocracy and their replacement by the fairer distribution of wealth and more democratic systems” (4). But as the Lord Chamberlain found in his increasingly desperate attempts in the 1960s to hold on to his power to censor British drama, the more you attempt to define, the more problematic the issues that arise. Theatre historians are now becoming increasingly aware of the power of “hidden theatre” in the evolution of postwar British theatre—that is, the large number of community-based and politically active groups that have been marginalized by a disproportionate focus on “representative” political playwrights and a few well-scrutinized collective organizations, such as 7:84, Monstrous Regiment, and Belt and Braces, who are all alluded to in this volume. In light of this fact, Patterson's interest in the phenomenon that saw a generation of playwrights flourish between the mid-fifties and the early eighties, who shared a desire to change society, now seems rather quaint. It is all the more to his credit, therefore, that he has produced a highly thought-provoking work.
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Farhadi, Ramin, and Mohammad Amin Mozaheb. "Staging Romanticism and Dissidence in Howard Brenton’s Bloody Poetry." Advances in Language and Literary Studies 8, no. 6 (2017): 12. http://dx.doi.org/10.7575/aiac.alls.v.8n.6p.12.

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Staging history is an approach of historicism that is widely practiced by the post-1968 British playwrights. Historical playwriting not only helps to identify and unmask repressive power institutions, but also to question the conventional trends in writing history in general. One of these playwrights is Howard Brenton. By staging the history of romanticism in the early nineteenth century and the self-imposed exile of Romantic figures in his play Bloody Poetry (1984) Brenton attempts to achieve multiple purposes. By using literary analysis and historical reading, the researchers identify the causes of Shelley-Byron circle’s self-exile and the way in which a dissident discourse is formed as an opposition to the mechanism of disciplinary power and one of its powerful discourses which is journalism. In addition to this, they explore Brenton’s main politics of representation of the role and function of poet-intellectual in public and how literature as a dissident discourse may function under the administration of Margaret Thatcher in the UK in the 1980s.
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Lapotaire, Jane. "Pam Gems, Jane Lapotaire, and a Phenomenon Named Piaf." New Theatre Quarterly 33, no. 3 (2017): 219–26. http://dx.doi.org/10.1017/s0266464x17000276.

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In this interview, award-winning actress Jane Lapotaire talks about the process of devel - op ing the central role in Pam Gems's Piaf, for which she won the Tony Award for Best Actress in 1981. She further describes how Gems gave her the chance to play a protagonist for the first time in her career in the British male-dominated theatre of the late 1970s. Gems established herself as a major feminist playwright in the British theatre in 1976 with the production of Dusa, Fish, Stas and Vi, although it was Piaf that brought her international attention and acclaim. Lapotaire discusses the significance of the female mission to create protagonist roles for women in the theatre who did not previously have the opportunity to drive a play's narrative. Esmaeil Najar is a translator, director, and theatre historian. He is currently writing his doctoral dissertation at the Ohio State University on Pam Gems's life and impact on British theatre.
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Ahmed, Rehana. "“I’ll explain what I can”: A conversation with Avaes Mohammad." Journal of Commonwealth Literature 53, no. 2 (2017): 223–39. http://dx.doi.org/10.1177/0021989416684184.

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Since the 2001 race riots in Bradford, Burnley, and Oldham and the terror attacks of 11 September 2001, British Muslims have been subjected to increased levels of suspicion and hostility. In particular, the spotlight has shone on working-class South Asian Muslim communities in the north of England, which have been accused of “self-segregation” and constructed as alienated from and posing a threat to “Britishness”. Racial divisions and tensions have been problematically blamed on the “failure” of multiculturalism; commentators from the left and right of the political spectrum have claimed multiculturalist practice and policies have encouraged too much diversity, thereby obstructing integration, while social factors such as poverty, disenfranchisement, racism, and “white flight” have been obscured or at best downplayed.1 As news stories of young British Muslim men joining extremist organizations at home or abroad continue to circulate, the communities’ male youth remain particularly susceptible to Islamophobic stereotyping and profiling. In this interview, performance poet and playwright Avaes Mohammad discusses the ways his work engages with this fraught political context. Our conversation begins by considering his experience of growing up in a racially divided northern English town in the 1980s and 1990s, before turning to the impact of the events of 2001 on his life and art. We discuss the role art can play in politics, and the part faith can play in art, before focusing on specific representations in his plays of young British Muslims held at Guantánamo Bay, divided working-class communities in the north of England, and young men — both Muslim and white — drawn to different kinds of extremism. Finally, we explore the racial and social exclusions of the creative arts, and the reception of Mohammad’s work.
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Dissertations / Theses on the topic "British playwrights 1970s"

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Kim, Yoo. "Conflicts within unity : images and ideas of Britain in the plays of David Edgar, David Hare and Trevor Griffiths." Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302637.

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Books on the topic "British playwrights 1970s"

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Ward, Ian. The Play of Law in Modern British Theatre. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474450140.001.0001.

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The Play of Law in Modern British Theatre investigates the place and purpose of law in a range of modern dramatic settings and writings. Each chapter, which focusses on a particular area of law and the work of a particular playwright, illustrates the important role of theatre in articulating legal and political issues to a modern audience. The encompassing aspiration of The Play of Law in Modern British Theatre introduces the reader to a variety of genres in modern dramatic writing. From the ‘state of the nation’ plays of the 1980s and 1990s, to ‘verbatim’ and modern historical drama, to the calculated violence of ‘in-yer-face’, and associated expressions of radical and feminist theatre. Amongst those playwrights whose work is considered are David Hare, Richard Norton-Taylor, Caryl Churchill, Howard Brenton, Mike Bartlett, Sarah Kane, Bryony Lavery and Evan Placey. Along the way the reader is introduced to an equally wide range of areas of political and legal debate; from constitutional reform, to the present state of international law, to a variety of familiar controversies in associated areas of law, society, and gender.
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Mireia, Aragay, ed. British theatre of the 1990s: Interviews with directors, playwrights, critics and academics. Palgrave Macmillan, 2007.

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British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. Palgrave Macmillan, 2007.

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Klein, H., M. Aragay, E. Monforte, and P. Zozaya. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. Palgrave Macmillan, 2007.

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Cooper, Ian. Witchfinder General. Liverpool University Press, 2011. http://dx.doi.org/10.3828/liverpool/9781906733513.001.0001.

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Witchfinder General (1968), known as The Conqueror Worm in America, was directed by Michael Reeves and occupies a unique place in British cinema. Equally praised and vilified, the film fictionalizes the exploits of Matthew Hopkins, a prolific, real-life ‘witch hunter’, during the English Civil War. For critic Mark Kermode, the release proved to be ‘the single most significant horror film produced in the United Kingdom in the 1960s’, while playwright Alan Bennett called the work ‘the most persistently sadistic and rotten film I've ever seen’. Steadily gaining a cult reputation, unimpeded by the director's death just months after the film's release, the film is now treated as a landmark, though problematic, accomplishment, as it exists in a number of recut, retitled, and rescored versions. This in-depth study positions the film within the history of horror and discusses its importance as a British and heritage film. It also considers the inheritance of Hopkins, the script's relationship to the novel by Ronald Bassett, and the iconic persona of the film's star, Vincent Price. The author conducts close textual readings of specific scenes and explores the film's various contexts, from the creation of the X certificate and the tradition of Hammer gothic, to the influence on Ken Russell's The Devils (1971) and the ‘torture porn’ of twenty-first-century horror.
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Book chapters on the topic "British playwrights 1970s"

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Voigts, Eckart, and Sarah Jane Ablett. "‘Affiliation and Belonging’: Contemporary British-Jewish Women Playwrights." In A Companion to British-Jewish Theatre since the 1950s. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350135994.ch-009.

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"How the West End was (nearly) won: the playwrights of the early 1960s." In Post-War British Theatre (Routledge Revivals). Routledge, 2014. http://dx.doi.org/10.4324/9781315733364-14.

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Malkin, Jeanette R. "Three Ways of Being a Contemporary British-Jewish Playwright: Tom Stoppard, Patrick Marber, Ryan Craig." In A Companion to British-Jewish Theatre since the 1950s. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350135994.ch-010.

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Wixson, Christopher. "5. ‘Political’." In George Bernard Shaw: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198850090.003.0006.

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‘Political’ details a difficult time in George Bernard Shaw’s career when his views about the First World War placed him intensely at odds with public opinion. Shaw’s journalism castigates British nationalism and foreign policy, boldly assigning culpability for the conflict to failed government leadership on both sides. His major plays throughout the 1920s were also composed in the war’s long shadow and vitalized by the principles Shaw enumerated in his recent, controversial public writings. The chapter then examines Shaw’s Heartbreak House (1916–17), Back to Methuselah (1918–20), Saint Joan (1923), and Too True to Be Good (1931). The success of Saint Joan and the award of the 1925 Nobel Prize for Literature solidified Shaw as Britain’s pre-eminent playwright.
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Ward, Ian. "Feasts of Filth." In The Play of Law in Modern British Theatre. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474450140.003.0007.

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Sarah Kane’s Blasted is one of the most controversial plays written and produced by a British playwright over the last quarter century. A defining contribution to a genre of plays which emerged during the 1990s, and which are variously termed ‘in-yer-face’ and ‘new brutalist’. The principle strategy of ‘in-yer-face’ theatre was to shock its audience. Intimating a shared complacency between comfortable middle-class Britain and its comfortable middle-class theatre. A number of ‘in-yer-face’ plays were distinguished by their graphic presentation of extreme violence, commonly sexual. And nowhere was this presentation more explicit than in Kane’s Blasted, with successive scenes of rape and sexual abuse. This chapter re-reads Kane’s play in the closer context of familiar, and ongoing, debates regarding the relation of law and gender, and more particularly still the limitations of modern rape ‘law’. It is argued that these limitations are rooted in a series of particular rape ‘myths’. Many of which can be located in Kane’s writing, but which are also challenged by it.
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"Examples of British Brecht discussed here include George Devine’s production of The Good Woman of Setzuan, Sam Wanamaker’s The Threepenny Opera and William Gaskill’s The Caucasian Chalk Circle. (Throughout this book all the play titles given reproduce exactly the translations used for the particular productions discussed.) The chapter also includes a brief assessment of the relationship between the work of Brecht and that of key British playwrights: John Arden, Arnold Wesker, John Osborne, Robert Bolt and Edward Bond. Chapter 3 describes the ways in which the political upheavals of 1968 and the social and artistic developments in Britain made Brecht eminently suitable and accessible to radical theatre groups. It analyses the impact of politically committed theatre practitioners’ attempts to take on all aspects of Brecht’s dramatic theory, political philosophy and, as far as possible, theatre practice. Detailed analyses of Brecht productions by some key radical companies (e.g. Foco Novo, Belt and Braces Roadshow, Liverpool’s Everyman Theatre, Manchester’s Contact Theatre and Glasgow’s Citizens Theatre) demonstrate how their commitment to the integra-tion of political meaning and aesthetic expression contributed to the growing understanding and acceptance of Brecht’s theatre in Britain. This achievement is contrasted in Chapter 4 with the ways in which Brecht’s plays were incorporated into the classical repertoire by the national companies – the Royal Shakespeare Company and the National Theatre – in the 1970s and 1980s. Here there is an assessment of the damaging impact on these Brecht productions of the companies’ hierarchical structure and organisation, the all-too-frequently non-collaborative approaches to production, and the undue emphasis placed on performance style and set design, often in isolation from a genuine commitment to the intrinsic, socio-political meaning of the texts. The chapter centres on the productions of Brecht in the 1970s and 1980s for the Royal Shakespeare Company directed by Howard Davies, and on those at the National Theatre directed by John Dexter and Richard Eyre. Chapter 5 presents three case studies, that is, detailed accounts based on access to rehears-als and on interviews with the relevant directors and performers, of three major British productions of Brecht plays in the early 1990s. The first case study is of the award-winning production of The Good Person of Sichuan at the National Theatre in 1989/90, directed by Deborah Warner, with Fiona Shaw as Shen Te/Shui Ta. The second is of the Citizens Theatre’s 1990 production of Mother Courage, directed by Philip Prowse, with Glenda Jackson in the title role. And the third is of the National Theatre’s The Resistible Rise of Arturo Ui, directed in 1991 by Di Trevis, with Antony Sher as Ui. The main focus of this chapter and its case-studies is the relationship in practice between Brechtian theory, and the aesthetics and the politics of the texts, in both the rehearsal process and the finished performances." In Performing Brecht. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-12.

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"Reviews were often either antagonistic to this new form of theatre or baffled by it. In both cases it frequently resulted in dismissive reviews and a rejection of the playwright. Gradually, however, the tide of anti-Brecht feeling was beginning to turn and it was given a following wind when the Berliner Ensemble made their second visit to London in 1965. Ideas in the British theatre were on the move; the arts in general in the 1960s were in a time of change and expansion. Then the ‘politicisation’ of theatre in the post-1968 period, which led to the development of the ‘fringe’ theatre scene, provided a perfect context for the rehabilitation of Brecht. His plays – including their politics this time – were ideal material for that rather un-British event, the construction of an ‘alternative’ theatre discourse. As with so much that starts artistic life as ‘alternative’, Brecht’s plays were soon absorbed into the mainstream of British theatre, and less than a decade later his work featured in the programmes of even the most conservative of repertory theatres and was hailed as ‘classic’ by the British national companies. Brecht had been appropriated. But the problem with appro-priation, of course, is that its very purpose is to pull sharp teeth and nullify political bite. And Brecht’s political message would be sanitised for a British establishment’s flirtation with socialism. As British political theatre was itself eroded by the Thatcherite 1980s, Brecht’s status within British culture – never completely convincing – became unsure. In the 1990s, Britain blinks, uncertainly and with nostalgia, in a post-cold war, post-industrial and postmodern light. Not only are the political enemies no longer identifiable, authors, too, have gone largely the way of cultural relativism. Whether there will be a meaningful place and function again for Brecht in British theatre remains to be seen. The first chapter of this book considers the context and development of Brecht’s ideas and theories on theatre performance, focusing in particular on the differences and similarities between Brecht and the ‘naturalistic’ actor/director Constantin Stanislavski – ‘measuring the distance’ between them. It then considers Brecht’s choice of actors and his methods of working with them, and how these illuminate his theoretical ideas on performance. Material is drawn from published interviews with and performance reviews of key performers such as Helene Weigel, Ekkehard Schall, Angelika Hurwicz and Charles Laughton. In Chapter 2, the subject is the penetration of British theatre by Brecht material in the 1950s. The chapter explains how both early British productions of Brecht and new playwrights in Britain were influenced by the work of the Berliner Ensemble. Two tendencies are high-lighted: that of some practitioners to imitate the outward appearances of Berliner produc-tions, thus placing the emphasis on theatrical ‘style’ rather than process, and that of others to attempt to follow Brecht’s precepts for the rehearsal process in a context ill-suited to them." In Performing Brecht. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-11.

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"Heralded as a playwright, screenwriter, and director, Sir David Hare has enjoyed a professional career that has stretched across more than 40 years. His time in the theater has been marked by several triumphs, including Plenty, The Blue Room, and Stuff Happens, and in 2011 he was awarded the PEN Pinter Prize for his thought-provoking and politically engaging oeuvre. Hare’s transition to film began in earnest in the 1980s when he wrote and directed Wetherby (1985), which won the Golden Bear at the Berlin Film Festival, Paris by Night (1988), and Strapless (1989). But a growing dissatisfaction with his films inspired him to refocus on theater, where he wrote his celebrated trilogy of plays about British life—Racing Demon, Murmuring Judges, and The Absence of War—in the early 1990s. Thankfully, Hare returned to screenplays with his terrific script for Louis Malle’s Damage (1992), a portrait of obsessive, doomed love based on Josephine Hart’s novel. More recently, he has received Academy Award nominations for his adapted screenplays for The Hours (2002) and The Reader (2008), which won, respectively, Nicole Kidman and Kate Winslet the Oscar for Best Actress. He also worked to adapt author Jonathan Franzen’s 2001 novel, The Corrections, into a feature film. His plays Plenty and The Secret Rapture have been adapted into films, and in 2011 he wrote and directed the conspiracy thriller Page Eight, which starred Bill Nighy, Rachel Weisz, and Michael Gambon." In FilmCraft: Screenwriting. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-34.

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