Relevant bibliographies by topics / Contemporary British theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Contemporary British theatre'

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

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Journal articles on the topic "Contemporary British theatre"

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Fragkou, Marissia. "Ethical speculations in contemporary British theatre." Studies in Theatre and Performance 35, no. 1 (2014): 103–5. http://dx.doi.org/10.1080/14682761.2014.992603.

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Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.

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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asi
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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.

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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associ
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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 issu
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Campos, Liliane. "Science in contemporary British theatre: a conceptual approach." Interdisciplinary Science Reviews 38, no. 4 (2013): 295–305. http://dx.doi.org/10.1179/0308018813z.00000000060.

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Hoffmann, Beth. "Contemporary British Theatre: Breaking New Groundedited by Vicky Angelaki." Contemporary Theatre Review 24, no. 3 (2014): 396–97. http://dx.doi.org/10.1080/10486801.2014.921018.

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Malkin, Jeanette R., and Eckart Voigts. "Wrestling with Shylock." European Judaism 51, no. 2 (2018): 175–85. http://dx.doi.org/10.3167/ej.2017.510224.

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How does Shakespeare’s ambivalent character Shylock affect British theatre artists of Jewish heritage today? Since the 1970s, stage adaptations of The Merchant by British Jewish directors and actors have struggled to glean an interpretation that would make The Merchant relevant or palatable for a post-Shoah generation. This article has a double focus: we discuss the difference between the adaptations of the older generation – Arnold Wesker’s character rewriting in The Merchant (1976) and Charles Marowitz’s deconstruction in Variations on the Merchant of Venice (1977) – and the contemporary rev
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Malkin, Jeanette R., and Eckart Voigts. "Wrestling with Shylock." European Judaism 51, no. 2 (2018): 175–85. http://dx.doi.org/10.3167/ej.2018.510224.

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Abstract How does Shakespeare’s ambivalent character Shylock affect British theatre artists of Jewish heritage today? Since the 1970s, stage adaptations of The Merchant by British Jewish directors and actors have struggled to glean an interpretation that would make The Merchant relevant or palatable for a post-Shoah generation. This article has a double focus: we discuss the difference between the adaptations of the older generation – Arnold Wesker’s character rewriting in The Merchant (1976) and Charles Marowitz’s deconstruction in Variations on the Merchant of Venice (1977) – and the contemp
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Wiśniewski, Tomasz. "Between languages. On bilingual issues in modern British and Irish drama." Tekstualia 3, no. 46 (2016): 111–20. http://dx.doi.org/10.5604/01.3001.0013.4208.

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The article concentrates on tensions between centres and peripheries in modern British and Irish drama. The research material encompases plays by GB Shaw, WB Yeats, JM Synge, Peter Shaffer and works by immigrant contemporary playwrights (e.g. H. Khalil, H. Abdulrazzak, and T. Štivičic), whose work introduces new perspectives to British stage. Among the topics that are scrutinised, the following seem important: London-based model of theatre as opposed to the models emerging from other cultural centres; British and Irish theatre traditions and their interrelations with artistic innovations arriv
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Howe, Steven, and Clotilde Pégorier. "Law, Narrative and Critique in Contemporary Verbatim Theatre." Pólemos 14, no. 2 (2020): 385–405. http://dx.doi.org/10.1515/pol-2020-2023.

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AbstractThe present article undertakes an interdisciplinary inquiry into contemporary British verbatim theatre as a site of interplay between law, art and politics. Focusing on the example of Matt Woodhead and Richard Norton-Taylor’s 2016 play Chilcot, documenting the public inquiry into the UK’s role in the 2003 Iraq war, the authors explore the work as a space of legal and political critique, and ask how the specific theatrical and narrative affordances of the verbatim form shape its critical substance.
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Dissertations / Theses on the topic "Contemporary British theatre"

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Cantrell, Thomas Edward. "Acting processes in contemporary British verbatim theatre." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1173/.

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This thesis is the first investigation to examine acting processes in contemporary British verbatim theatre. Proceeding by a case-study basis, I analyse three recent verbatim productions. In the introduction I note the curious absence of actors' testimony in current academic research, and suggest some of the reasons for this oversight. My work is thus a counter-narrative to the established scholarly convention which assumes that non-actors - directors, writers and academics - can represent actors. My thesis demonstrates how this ventriloquising for actors has led to confusion and ignorance abo
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Houston, Andrew. "Postmodern dramaturgy in contemporary British theatre : three companies." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264631.

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Clements, Rachel Elizabeth Adelaide. "Hauntology and contemporary British political theatre 1995-2010." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529760.

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Parker, Ellie. "Design and designer in contemporary British theatre production." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/86ac157c-fbef-4c8d-bc99-eda9f967a791.

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The thesis is an interrogation of both process and reception of contemporary scenography. The definition 'contemporary' embraces professional public performance since 1980. Theatre design is now more accurately described as scenography, but as theatre designers in. Britain rarely describe themselves as scenographers, both terms are adopted. The thesis is divided into two sections followed by. an appendix. Diagrammatically, we may see the performance product as central. The first section of the thesis - chapters one to four - reflects the process of image reception as a journey, situating the s
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Abdulla, Aqeel. "Representations of Muslim women in contemporary British theatre." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24354.

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This PhD thesis sets out to study how Muslim women have been depicted in contemporary British plays. I am studying these depictions in eight plays: 1. Deadeye by Amber Lone, first performed in October 2006 at The Door, Birmingham Repertory Theatre. 2. Sweet Cider by Emteaz Hussain, London 2008. 3. Shades by Alia Bano, London 2009. 4. What Fatima Did by Atiha Sen Gupta, London 2009. 5. Sisters by Stephanie Street, Sheffield 2010. 6. Burq Off! by Nadia Manzoor, London 2014. 7. My Name Is ... by Sudha Bhuchar, London 2014 8. East Is East by Ayub Khan-Din, London 2014. I am arguing in my introduct
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Canton, Ursula. "The use of biographical material in contemporary British theatre." Thesis, University of Sheffield, 2007. http://etheses.whiterose.ac.uk/10292/.

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The thesis addresses the contrast between the popUlarity of plays with historical characters, i.e. characters that recognisably resemble historical figures, on the British stage and the lack of academic literature that deals with this issue. On the basis of such a practical observation, a working definition is established, in which the existence of such a characters, or the reflection about the process of life-writing are included, and the consequences of the use of biographical material are outlined. A crucial effect is the establishment of a very different relationship between the world of t
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Venn, Jonathan Edward. "Madness, resistance, and representation in contemporary British and Irish theatre." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27675.

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This thesis questions how theatre can act as a site of resistance against the political structures of madness. It analyzes a variety of plays from the past 25 years of British and Irish theatre in order to discern what modes of resistance are possible, and the conceptual lines upon which they follow. It questions how these modes of resistance are imbibed in the representation of madness. It discerns what way these modes relate specifically to the theatrical, and what it is the theatrical specifically has to offer these conceptualizations. It achieves this through a close textual and performati
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Garson, Cyrielle. "Beyond Documentary Realism : aesthetic Transgressions in Contemporary British Verbatim Theatre." Thesis, Avignon, 2016. http://www.theses.fr/2016AVIG1157.

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Le théâtre verbatim, une pratique scénique dont le texte repose entièrement sur les mots exacts énoncés par des personnes réelles, est au coeur d’une renaissance remarquable et inattendue du genre en Grande-Bretagne depuis le milieu des années quatre-vingt-dix. Au même moment, les metteurs en scène britanniques contemporains ont déclaré avoir trouvé de nouvelles approches pour une pratique du théâtre politique par son entremise. En dépit de la dominante anti-réaliste qui semble encore à l’heure actuelle caractériser la culture postmoderne, on admet le plus souvent que le réalisme documentaire
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Delgado-Garcia, Cristina. "The aesthetics and politics of character and subjectivity in contemporary British theatre." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/c6578e94-d667-4a82-b953-2137f2cddd86.

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This doctoral project offers a politically-inflected renegotiation of the related notions of character and subjectivity as they are currently used in Anglophone theatre studies. It proposes to strategically rethink character as “any figuration of subjectivity in a theatre text or performance” so as to enable a less prescriptive inquiry into the theatrical forms and subjective figures that veer away from the liberal-humanist ideal. This understanding of character is deployed to re-route and politicise the reception of four contemporary British, script-led works that experiment with speech attri
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Moore, Bridie Lesley. "Effects, metaphors and masks : reading and doing age in contemporary British theatre." Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/21470/.

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This thesis combines traditional and practice-based methods to research the representation of age and ageing in contemporary British theatre. My voice interjects intermittently in the thesis in acknowledgement of my culturally and historically situated position as a middle-aged female theatre-maker. In search of performances that might counter the normative narratives of decline and disappearance that pertain to age (Margaret Gullette, 2004: 13), I look, in Part I at professional performances, considering mainstream dramas and contemporary autobiographical performances. I conclude that the lat
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Books on the topic "Contemporary British theatre"

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Shank, Theodore, ed. Contemporary British Theatre. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5.

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Shank, Theodore, ed. Contemporary British Theatre. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2.

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Angelaki, Vicky, ed. Contemporary British Theatre. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137010131.

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Venn, Jon. Madness in Contemporary British Theatre. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79782-9.

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Aragay, Mireia, and Enric Monforte, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137297570.

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Contemporary British theatre: Breaking new ground. Palgrave Macmillan, 2013.

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1966-, De Gay Jane, ed. Feminist stages: Interviews with women in contemporary British theatre. Harwood Academic Publishers, 1996.

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Stage right: Crisis and recovery in British contemporary mainstream theatre. St. Martin's Press, 1994.

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Bull, John. Stage right: Crisis and recovery in British contemporary mainstream theatre. Macmillan, 1994.

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Feminist theatre: An introduction to plays of contemporary British and American women. Grove Press, 1985.

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Book chapters on the topic "Contemporary British theatre"

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Armitstead, Claire. "LIFTing the Theatre: The London International Festival of Theatre." In Contemporary British Theatre. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_11.

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Armitstead, Claire. "Lifting the Theatre: The London International Festival of Theatre." In Contemporary British Theatre. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5_11.

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Shank, Theodore. "The Multiplicity of British Theatre." In Contemporary British Theatre. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_1.

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Shank, Theodore. "The Multiplicity of British Theatre." In Contemporary British Theatre. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5_1.

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Cameron, Alasdair. "Experimental Theatre in Scotland." In Contemporary British Theatre. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_9.

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Cameron, Alasdair. "Experimental Theatre in Scotland." In Contemporary British Theatre. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5_9.

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Esslin, Martin. "The Electronic Media and British Drama." In Contemporary British Theatre. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_12.

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Esslin, Martin. "The Electronic Media and British Drama." In Contemporary British Theatre. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5_12.

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Stuart, Ian. "Edward Bond and the Royal National Theatre." In Contemporary British Theatre. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_5.

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Morley, Sheridan. "Spread a Little Happiness: West End Musicals." In Contemporary British Theatre. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_6.

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