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Journal articles on the topic 'Contemporary British theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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9

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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11

Boon, Richard, and Amanda Price. "Maps of the World: "Neo-Jacobeanism" and Contemporary British Theatre." Modern Drama 41, no. 4 (1998): 635–54. http://dx.doi.org/10.3138/md.41.4.635.

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12

Boles, William C., and John Bull. "Stage Right: Crisis and Recovery in British Contemporary Mainstream Theatre." South Atlantic Review 60, no. 2 (1995): 166. http://dx.doi.org/10.2307/3201309.

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13

Komporaly, Jozefina. "Making a Spectacle: Motherhood in Contemporary British Theatre and Performance." Theatre History Studies 35, no. 1 (2016): 161–78. http://dx.doi.org/10.1353/ths.2016.0008.

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14

Schmitt, Natalie Crohn. "Theorizing about Performance: Why Now?" New Theatre Quarterly 6, no. 23 (1990): 231–34. http://dx.doi.org/10.1017/s0266464x0000453x.

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This article continues NTQ's recent exploration of the interaction between the study of theatrical performance and other disciplines – in this case, relating in particular to ‘Quantum Physics and the Language of Theatre’, published in NTQ 18 (1989). Schmitt argues that there is a correspondence between the contemporary interest in performance theory and the view of nature provided by modern physics. The analysis of nature in terms of events rather than objects, the perception of reality as a network of non-teleological, non-hierarchical relations, the interest in the interplay between nature a

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15

Ponnuswami, Meenakshi. "Contemporary Black and Asian Women Playwrights in Britain. By Gabriele Griffin. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2003; pp. x + 291. $75 cloth." Theatre Survey 46, no. 2 (2005): 317–19. http://dx.doi.org/10.1017/s0040557405240206.

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Gabriele Griffin's study of black and Asian women playwrights in contemporary Britain fills a gap in British theatre studies. Although a comprehensive study of black British theatre has yet to see print, two developments have, in the past decade or so, begun to stimulate critical attention in the field. One is the publication of plays by black and Asian authors, including collections of plays exclusively by women (such as Khadija George's edition of Six Plays by Black and Asian Women Writers of 1993), as well as the more systematic inclusion of works by writers such as Winsome Pinnock and Tris

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Dominte, Carmen. "DramAcum – The New Wave of Romanian contemporary dramaturgy." Swedish Journal of Romanian Studies 2, no. 1 (2019): 62–75. http://dx.doi.org/10.35824/sjrs.v2i1.18816.

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During the nineties, a new theatrical trend developed. It was called New European Drama or New Writing. It was represented by authors such as the British Sarah Kane, Mark Ravenhill or the German playwright Marius von Mayernburg. The classical theatre will never be able to return to itself, unless giving the spectator the utopian sense of life that only a staged play could perform, not from a delusive perspective, but from a real and personalized perspective, giving a certain meaning to reality. Being against the conservatory type, the authors put an end to all the theatrical conventions. They

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17

Carlson, Susan. "Process and Product: Contemporary British Theatre and its Communities of Women." Theatre Research International 13, no. 3 (1988): 249–63. http://dx.doi.org/10.1017/s0307883300005812.

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Most of Great Britain's active women dramatists have found crucial support and encouragement for their work from communities of women in the theatre. Off stage, during the process of planning, writing, and rehearsing, collaborations have changed the standard theatrical work pattern and modified the way women writers conceive of drama. On stage, the products – the plays – reflect their communal generation in their focus on groups. In short, the collaborations, collectives, and groups which have encouraged and advanced women's theatrical work account for its particular verve. And while the posit

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18

Luk, Yun Tong. "Post-Colonialism and Contemporary Hong Kong Theatre: Two Case Studies." New Theatre Quarterly 14, no. 56 (1998): 366–72. http://dx.doi.org/10.1017/s0266464x00012446.

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The case of Hong Kong – acquired by the British under treaty, and restored to Chinese sovereignty in what some perceived as merely a shift from colonial to neo-colonial rule – always seemed a special case in the debate over post-colonialism. In NTQ53 (February 1998) Frank Bren looked primarily from an artistic and administrative viewpoint at the connections between film and theatre in the former colony: in the article which follows, Yun Tong Luk explores the social and cultural significance of two influential local productions, staged almost a decade apart – one, We're Hong Kong, shortly after

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19

Davis, Jim. "British Bravery, or Tars Triumphant: Images of the British Navy in Nautical Melodrama." New Theatre Quarterly 4, no. 14 (1988): 122–43. http://dx.doi.org/10.1017/s0266464x00002669.

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In recent years, melodrama has increasingly been recognized not only as an important element in popular theatre studies, but for the intrinsic importance of the form itself. Less considered has been the relationship of the material of melodrama to the ‘real life’ it reflected in a highly conventionalized yet ultimately (for its audiences), recognizable fashion. Here, Jim Davis looks at one major category, nautical melodrama, setting the images of the navy and of sailors that it created alongside factual and critical accounts of life at sea in the first half of the nineteenth century. He convey

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20

Voigts, Eckart, and Merle Tönnies. "Posthuman Dystopia: Animal Surrealism and Permanent Crisis in Contemporary British Theatre." Journal of Contemporary Drama in English 8, no. 2 (2020): 295–312. http://dx.doi.org/10.1515/jcde-2020-0024.

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AbstractThe paper situates current developments in British theatre within wider trends towards dystopia and (post-)apocalyptic writing. A central focus is on the role of posthuman elements in dystopian plays which are used to create a constant and pervasive, but mostly unspecific sense of crisis. Two recent works by female playwrights – Dawn King’s Foxfinder (2011) and Stef Smith’s Human Animals (2016) – are compared and related back to Caryl Churchill’s seminal Far Away (2000) to elucidate how the nonhuman comes to be perceived as a threat and how this leads to, and/or supports, a dystopian s

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21

Székelyhidi, E. Johanna. "Cloud Nine on Page and Stage: A Case-Study of International Adaptability." Eger Journal of English Studies 20 (2020): 77–89. http://dx.doi.org/10.33035/egerjes.2020.20.77.

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Caryl Churchill’s Cloud Nine (1979) is regarded as a contemporary classic of British theatre. The play’s formal innovation and revolutionary approach to gender and (post-)colonialism has been analysed thoroughly and often. However, several critics question Cloud Nine’s relevance and adaptability today. This case study aims to demonstrate how the European theatrical tradition mixed with original methods helped a Hungarian theatre group, K.V. Company adapt Cloud Nine to a contemporary European stage. The analysed performance is a testimony to Cloud Nine’s lasting relevance and international adap

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22

Urban, Eva. "Multilingual Theatre in Brittany: Celtic Enlightenment and Cosmopolitanism." New Theatre Quarterly 34, no. 3 (2018): 283–97. http://dx.doi.org/10.1017/s0266464x1800026x.

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In this article Eva Urban describes a historical tradition of Breton enlightenment theatre, and examines in detail two multilingual contemporary plays staged in Brittany: Merc’h an Eog / Merch yr Eog / La Fille du Saumon (2016), an international interceltic co-production by the Breton Teatr Piba and the Theatr Genedlaethol Cymru (the Welsh-language national theatre of Wales); and the Teatr Piba production Tiez Brav A Oa Ganeomp / On avait de jolies maisons (2017). She examines recurring themes about knowledge, enlightenment journeys, and refugees in Brittany in these plays and performances, an

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23

Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (2002): 17–24. http://dx.doi.org/10.1017/s0266464x0200012x.

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The dramatic upsurge of contemporary new writing on British stages in the past decade, and the emergence of a fresh generation of playwrights led by such talents as Mark Ravenhill, Philip Ridley, Joe Penhall, Phyllis Nagy, Patrick Marber, and the late Sarah Kane, has been variously characterized as the ‘New Brutalism’ or even, in Germany, as the ‘Blood and Sperm Generation’. Here, Aleks Sierz summarizes the argument for ‘In-Yer-Face Theatre’ as the most pertinent and inclusive description for the phenomenon, listing its salient characteristics and suggesting the areas in which it is most vulne

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LITVIN, MARGARET, and JOHANNA SELLMAN. "An Icy Heaven: Arab Migration on Contemporary Nordic Stages." Theatre Research International 43, no. 1 (2018): 45–62. http://dx.doi.org/10.1017/s0307883318000056.

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At the height of the 2015–16 ‘refugee crisis’, how were immigrants and refugees portrayed and self-portrayed on Finnish and Swedish stages? The production and reception of two plays translated from Arabic – Karim Rashed's I Came to See You (2015) and Hassan Blasim's The Digital Hats Game (2016) – reveal a complex politics of representation in both scripting and staging. Reading Blasim and Rashed's works in light of Arab–Nordic literary studies and migration theatre studies, we also set them against two other migration-themed plays staged in Stockholm: Swedish writer Jonas Hassen Khemiri's grou

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25

King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.

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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’

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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.

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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and

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Lipton, Martina. "Jessie Matthews’ Construction of a Star Persona on her Post-war Australian Tours." New Theatre Quarterly 31, no. 2 (2015): 116–28. http://dx.doi.org/10.1017/s0266464x15000238.

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Jessie Matthews’ post-war tours to Australia were part of a sequence of commercially successful imported productions then heralded as a great boom era in Australian theatre. However, Matthews’ waning popularity in Britain since the 1940s meant that she was no longer recognizable as the screen darling of the 1930s. Indeed, the Australian press had to remind its readers of ‘evergreen Jessie’s’ succession of British film hits such as The Good Companions (1933) and Evergreen (1934). This article examines the critical and public reception of Matthews’ tours with a focus on the strategic management

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Arnold-Forster, Agnes. "‘A small cemetery’: death and dying in the contemporary British operating theatre." Medical Humanities 46, no. 3 (2019): 278–87. http://dx.doi.org/10.1136/medhum-2019-011668.

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Surgeon Henry Marsh begins his autobiography, Do No Harm, with a quotation from the French practitioner René Leriche, “Every surgeon carries within himself a small cemetery, where from time to time he goes to pray—a place of bitterness and regret, where he must look for an explanation for his failures”. This article uses memoirs and oral history interviews to enter the operating theatre and consider the contemporary history of surgeons’ embodied experiences of patient death. It will argue that these experiences take an under-appreciated emotional toll on surgeons, but also that they are deploy

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Goddard, Lynette. "#BlackLivesMatter: Remembering Mark Duggan and David Oluwale in Contemporary British Plays." Journal of Contemporary Drama in English 6, no. 1 (2018): 69–86. http://dx.doi.org/10.1515/jcde-2018-0012.

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AbstractThis paper examines two British plays that respond to cases in which the police have been implicated in the deaths of black men. Gillian Slovo’s The Riots (Tricycle Theatre, 2011) uses interviews from witnesses and politicians to dissect the events leading up to and during the Tottenham riots that followed in the wake of the fatal police shooting of Mark Duggan by police on 4 August 2011 and spread to other inner cities in England over the following five nights. I examine how the first half portrays the local community’s concerns and locates the breakout of riots within a longer histor

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Mohammed Midhin, Majeed, and Clare Finburgh. "The Dilemma of the Artist in Contemporary British Theatre: A Theoretical Background." ATHENS JOURNAL OF HUMANITIES & ARTS 2, no. 4 (2015): 243–58. http://dx.doi.org/10.30958/ajha.2-4-4.

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31

Gardner, Janet E. "Thatcher's Theatre: British Theatre and Drama in the Eighties, and: Essays on Caryl Churchill: Contemporary Representations (review)." Theatre Journal 52, no. 4 (2000): 585–87. http://dx.doi.org/10.1353/tj.2000.0106.

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32

Morin, Emilie. "‘Look Again’: Indeterminacy and Contemporary British Drama." New Theatre Quarterly 27, no. 1 (2011): 71–85. http://dx.doi.org/10.1017/s0266464x11000066.

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The integration into conceptual art of techniques inspired by Fluxus (the international aggregate of artists who saw indeterminacy as imaginatively and linguistically enabling) has, in turn, given rise to a specific line in British playwriting since the mid-1990s, as evidenced in plays by Martin Crimp, Sarah Kane, and Tim Crouch which gesture towards conceptual art, performance art, and the event score. In this article Emilie Morin brings to light the affinities between this artistic moment in contemporary British theatre and the international avant-garde. She discusses the shared interest of

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Robson, Mark. "Performing Democracy." Anglia 136, no. 1 (2018): 154–70. http://dx.doi.org/10.1515/ang-2018-0014.

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AbstractThe debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend

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34

Deeney, John F. "Censoring the Uncensored: the Case of ‘Children in Uniform’." New Theatre Quarterly 16, no. 3 (2000): 219–26. http://dx.doi.org/10.1017/s0266464x00013853.

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British theatre between the two world wars has been a neglected area of interest for contemporary scholars and theatre historians, but a growing body of work in this field has of late begun to challenge the orthodoxies. Much of the new work has focused on the reclamation and repositioning of the work of ‘forgotten’ women playwrights and commercially successful gay playwrights such as Noël Coward and Terence Rattigan. Here, John Deeney examines how the Lord Chamberlain's licensing of Christa Winsloe's lesbian-themedChildren in Uniform, and the commercial and critical success of its production a

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Mitra, Royona. "Talking Politics of Contact Improvisation with Steve Paxton." Dance Research Journal 50, no. 3 (2018): 6–18. http://dx.doi.org/10.1017/s0149767718000335.

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In the autumn of 2015, on the back of the publication of my monograph Akram Khan: Dancing New Interculturalism (Mitra 2015), I was settling into my Brunel University London-sponsored sabbatical to kick-start my postdoctoral research project, then titled “Historicizing and Mapping British Physical Theatre.” At that stage, this new field of study, methodology, and tone of enquiry felt significantly different from the decolonial spirit of my book, which examines the works of the British-Bangladeshi dance artist Akram Khan at the intersections of postcoloniality, race, gender, sexuality, mobility,

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Lal, Ananda. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. By Nandi Bhatia. Ann Arbor, MI: University of Michigan Press, 2004; pp. vi + 206 pp. $49.50 cloth." Theatre Survey 46, no. 2 (2005): 311–13. http://dx.doi.org/10.1017/s0040557405210207.

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There are few dependable books in English on political theatre in India. Professor Bhatia's collection of essays, therefore, fills a long-felt need. She introduces the subject contextually, followed by four chapters chronologically examining key areas (British censorship of nationalistic drama, Indianizations of Shakespeare as an anticolonial statement, the Indian People's Theatre Association as a mass phenomenon in the mid-twentieth century, and Utpal Dutt's reinterpretation of Raj history in his play The Great Rebellion 1857), and concludes with a short epilogue on contemporary activist thea

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Carlson, Susan. "Leaking Bodies and Fractured Texts: Representing the Female Body at the Omaha Magic Theatre." New Theatre Quarterly 12, no. 45 (1996): 21–29. http://dx.doi.org/10.1017/s0266464x00009593.

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The contemporary staging of Women's bodies raises both practical and theoretical issues, and in both text-based theatre and performance art women theatre artists are currently engaging these challenges in inventive ways. Drawing upon the inland expanses and ontological freedoms of the American Midwest, the women at the Omaha Magic Theatre have recently premiered two collaboratively written plays, Body Leaks and Sound Fields, which use image, action, technology, and text to engage issues of gender, identity, sexuality, and the material body. In these issues, the spectator is prohibited from mak

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WELTON, EMMA. "Welcome to The Jungle: Performing Borders and Belonging in Contemporary British Migration Theatre." Theatre Research International 45, no. 3 (2020): 230–44. http://dx.doi.org/10.1017/s0307883320000243.

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This article explores the political and ethical implications of performance representing the ongoing realities of migration in contemporary Britain. Using Good Chance Theatre's The Jungle (2018) as its point of departure, the article problematizes the use of dramaturgies of proximity to confect simplistic notions of empathy as tantamount to political change. In a Brechtian vein, the article argues for modes of distanciation to foster critical engagement among audiences at the site of contemporary performance on migration. Focusing upon the production's West End transfer, its use of immersive s

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Rogers, Jami. "The Shakespearean Glass Ceiling: the State of Colorblind Casting in Contemporary British Theatre." Shakespeare Bulletin 31, no. 3 (2013): 405–30. http://dx.doi.org/10.1353/shb.2013.0039.

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Höfele, Andreas. "The Erotic in the Theatre of Peter Zadek." New Theatre Quarterly 7, no. 27 (1991): 229–37. http://dx.doi.org/10.1017/s0266464x0000573x.

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In NTQ 4 (1985) we included a fully-illustrated interview with the German director Peter Zadek conducted by Roy Kift. Here, Andreas Höfele explores one of the subjects touched on in that interview, as in most responses to Zadek's work: the utilization of the erotic as a recurring motif. From his introduction to London of the then little-known work of Jean Genet to his most recent productions – of Wedekind's Lulu and of Chekhov's Ivanov – Zadek has, in Höfele”s words, opted for ‘the kaleidoscopic uncertainty of play’ and a ‘deliberate lack of closure’, which are here analyzed in terms of Baudri

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41

Keatley, Charlotte. "Art Form or Platform? On Women and Playwriting." New Theatre Quarterly 6, no. 22 (1990): 128–40. http://dx.doi.org/10.1017/s0266464x00004206.

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This is the second in a series of interviews with women who are involved, in various capacities, in feminist theatre today, whose career paths intersect and connect with the feminist movement and the feminist theatre movement, tracing developments and shifts in the feminist theory and practice of the past fifteen years. The first interview, in NTQ21, was with Gillian Hanna of Monstrous Regiment, and provided an update of a previously published interview as well as a discussion of contemporary work: its aim was to keep alive and accurate the current debate about British feminist theatre groups.

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Carlson, Susan. "Issues of Identity, Nationality, and Performance: the Reception of Two Plays by Timberlake Wertenbaker." New Theatre Quarterly 9, no. 35 (1993): 267–89. http://dx.doi.org/10.1017/s0266464x00007995.

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This paper explores some of the many factors which affect the way in which the critical response to a production is made manifest. Using the reception of Timberlake Wertenbaker's The Love of the Nightingale and Our Country's Good as case studies, Susan Carlson contrasts the enthusiastic response to the first production of the latter play at the Royal Court, where its supposed celebration of the redemptive effects of theatricality were widely acclaimed, with the subjection of the former to the ‘atavistic guilts of male theatre reviewers’. Examining the reception of later productions – and even

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de Gay, Jane. "Playing (with) Shakespeare: Bryony Lavery's ‘Ophelia’ and Jane Prendergast's ‘I, Hamlet’." New Theatre Quarterly 14, no. 54 (1998): 125–38. http://dx.doi.org/10.1017/s0266464x00011945.

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This article considers ways in which contemporary feminist theatre-makers respond to Shakespeare by reviewing the performance and production histories of two recent theatre pieces – a new play by Bryony Lavery, and an innovative staging of Hamlet by Jane Prendergast. Drawing on interviews with participants and observation of rehearsals for Ophelia, Jane de Gay looks at the practical issues faced by performers and directors as they explored issues of gender in Shakespeare's plays and characters. She also builds on her own research interest in intertextuality to look at the issues which arise wh

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Campos, Fabiano Fleury Souza. "ADOLESCÊNCIA, SUBJETIVIDADE E QUESTÕES DE GÊNERO NO TEATRO DE MARK RAVENHILL." Revista Leia Escola 19, no. 2 (2019): 30–39. http://dx.doi.org/10.35572/rle.v19i2.1411.

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A partir da análise estrutural, focada, sobretudo, nos personagens da peça Shopping and Fucking (1996), escrita pelo dramaturgo britânico Mark Ravenhill, evidenciamos uma relação incomum entre os elementos formadores desse trabalho teatral e as discussões sobre subjetividade, gênero e sexualidade voltadas para os adolescentes, nos dias atuais. Os contornos dos personagens dessa peça desestabilizam certas noções pré-concebidas sobre a individualidade e a corporeidade, por exemplo. Para a nossa análise, apoiamo-nos sobre os apontamentos de teóricos dedicados tanto ao teatro, como Pierre Sarrazac

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Urban, Eva. "Reification and Modern Drama: an Analysis, a Critique, and a Manifesto." New Theatre Quarterly 32, no. 3 (2016): 256–68. http://dx.doi.org/10.1017/s0266464x16000233.

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Drawing on a close reading of Theodor Adorno's essay, ‘Education after Auschwitz’, in this article Eva Urban develops the argument that an analysis of the reification that reduces human relationships to mere business interactions has been a central concern of modern drama. The article offers an analysis of some of the ways in which this theme continues to be represented, interrogated, and challenged internationally in contemporary political plays and theatre performances across a range of genres and grounded in a variety of dramaturgical principles. It asks how drama, theatre-making, theatre-s

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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, th

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Adlington, Robert. "Politics and the Popular in British Music Theatre of the Vietnam Era." Journal of the Royal Musical Association 143, no. 2 (2018): 433–71. http://dx.doi.org/10.1080/02690403.2018.1507121.

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AbstractBritish music-theatre works of the 1960s and early 1970s largely avoided direct engagement with contemporary political topics. Intriguing in this light is Michael Hall's recent proposition that Brecht's music theatre set the terms for younger British composers’ experiments with the genre. Brecht proved a complicated model, however, because of composers’ anxieties about music's capability to convey sociopolitical messages, and their reluctance to accord popular music a progressive function. The entanglement of Vietnam War activism and rock music forms the backdrop for analyses of two wo

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Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporar

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Sierz, Aleks. "Cool Britannia? ‘In-Yer-Face’ Writing in the British Theatre Today." New Theatre Quarterly 14, no. 56 (1998): 324–33. http://dx.doi.org/10.1017/s0266464x00012409.

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The appearance of a succession of controversial and attention-catching new plays on the British stage in the 'nineties has led to considerable public discussion – and not a little ostensible outrage. In ‘an interim report’, Aleks Sierz examines the rash of plays about sex, drugs, and violence – notably Trainspotting, Blasted, Mojo, and Shopping and Fucking – by twenty-something authors, and asks whether they have anything in common beyond a flamboyant theatricality and the desire to shock. After showing how Cool Britannia's manifestation on the national stage has provoked arguments for and aga

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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion

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