Academic literature on the topic 'In-Yer-Face drama'
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Journal articles on the topic "In-Yer-Face drama"
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De Vos, Laurens. "Aleks Sierz, In-Yer-Face Theatre. British Drama Today." Documenta 19, no. 2 (June 5, 2019): 123–26. http://dx.doi.org/10.21825/doc.v19i2.11369.
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Sierz, Aleks. "Cool Britannia? ‘In-Yer-Face’ Writing in the British Theatre Today." New Theatre Quarterly 14, no. 56 (November 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 against this ‘in-yer-face’ drama, he outlines some of the common themes – such as the crisis of masculinity and the postmodern sensibility – that characterize much contemporary new writing. He argues that while these young writers are certainly gifted and mature, only subsequent theatrical revivals of their work will show whether it has anything lasting to say. Aleks Sierz is theatre critic for Tribune, and currently writing a book about ‘in-yer-face’ drama.
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Sierz, Aleks. "NTQ Reports and Announcements." New Theatre Quarterly 19, no. 1 (January 10, 2003): 90–91. http://dx.doi.org/10.1017/s0266464x02000088.
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Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (February 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 vulnerable to criticism. Aleks Sierz is theatre critic of Tribune and writes about theatre for several publications. He is the author of In-Yer-Face Theatre: British Drama Today (London: Faber, 2001) and teaches journalism at Goldsmiths College, University of London. An earlier version of this article was given as a paper at the In-Yer-Face Theatre: Sarah Kane and the New British Dramaturgy conference at Stendhal University 3, Grenoble, in May 2001.
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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (January 5, 2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.
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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scottish, and American) playwriting, however modishly its characters may now be drawn from the underclass rather than the upper; and he identifies a ‘hunger for ideas’ among British audiences which is ill-satisfied by the dystopian despair of many would-be political dramatists.
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Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (October 25, 2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.
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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produced by the Committee Theatre Company in New York City. His play about the first US Secretary of Defense, The Absence of Weather, will premiere in Los Angeles at Moving Arts Theatre Company, which has named it the winner of its national new play award. At the request of the Sarah Kane Estate, Urban directed the New York premiere of her play Cleansed. He teaches Modern Drama and Creative Writing in the English Department at Rutgers University, New Brunswick. An early version of this article was first presented at the ‘In-Yer-Face? British Drama in the 1990s’ conference at the University of the West of England, Bristol, in September 2002.
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Kirejeva, Jelena. "APIE KAI KURIAS KONFLIKTINĖS KOMUNIKACIJOS TAKTIKAS." Verbum 6, no. 6 (December 4, 2015): 84. http://dx.doi.org/10.15388/verb.2015.6.8810.
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Straipsnyje nagrinėjama žmogiškoji interakcija per konfliktą, nes būtent konfliktas yra suvokiamas kaip neatsiejama ir prigimtinė žmogiškosios egzistencijos dalis. Tyrimo tikslas yra atpažinti tam tikras konfliktinės komunikacijos taktikas ir jų kalbinės raiškos priemones anglų ir rusų homo loquens (liet. kalbantis žmogus), įtraukto į konfliktinę situaciją, kalbėjime. Tirti pasirinktos šiuolaikinės anglų ir rusų dramos, kuriose analizuojami konfliktai ir juose pasitaikančios konfliktinės komunikacijos taktikos. Tiriamos in-yer-face teatro atstovų Marko Ravenhillo, Philipo Ridley’io ir Davido Ridley’io dramos, taip pat naujosios dramos atstovo Ivano Vyrypajevo dramos. Drama kaip tyrimo medžiaga vertinga tuo, kad joje tiksliai ir išsamiai perteikiamos žmogiškosios tarpusavio sąveikos ypatybės ir atskleidžiama interaktantų bendravimo kultūra. Nepaisant bendrų bruožų, būdingų in-yer-face teatrui ir naujajai dramai, matyti, kad interaktantai išsaugo gebėjimą atskleisti savo priklausomybę skirtingoms kultūroms ir skirtingomis vertybių sistemomis. Pagrindinis dėmesys straipsnyje yra sutelktas į taktikas, sukeliančias konfliktinę komunikaciją ir įspėjančias apie interaktantų tikslų ar jų mentalinių reprezentacijų nesutapimą. Tyrimas remiasi Geoffrey’io Leecho mandagumo principu ir maksimomis, kurios jį sudaro, taip pat Penelope’ės Brown and Stepheno Levinsono negatyviojo ir pozityviojo mandagumo sąvokomis. Straipsnyje prieinama prie išvados, kad rusų homo loquens dažniausiai pažeidžia pritarimo (angl. approbation), neišreikštos nuomonės (angl. opinion-reticence) ir takto (angl. tact) maksimas, tai suvokiama kaip konfliktinę komunikaciją sukelianti taktika, o anglų homo loquens, įspėjantis apie savo ketinimą pradėti konfliktą, rečiau pažeidžia takto maksimą, bet taip pat, kaip ir rusų homo loquens, nepaiso pritarimo ir neišreikštos nuomonės maksimų. Maksimų pažeidimas pradeda konfliktinę komunikaciją ir sukelia grėsmę tiek anglų, tiek rusų homo loquens pozityviajam ir negatyviajam mandagumui.
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Bartleet, Carina. "In-Yer-Face Theatre: British Drama Today. By Aleks Sierz. London: Faber, 2001. Pp. xiii + 274. £12.99 Pb." Theatre Research International 29, no. 2 (July 2004): 187. http://dx.doi.org/10.1017/s0307883304220600.
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Hamill, Kyna. "In-Yer-Face Theatre: British Drama Today. By Aleks Sierz. London: Faber & Faber, 2000; pp. 274. $17 paper." Theatre Survey 44, no. 02 (November 2003): 291–93. http://dx.doi.org/10.1017/s0040557403300146.
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Peña Puebla, Esther de la. "Performing the real and terrifying domestic crisis in Martin McDonagh’s The beauty queen of leenane." Epos : Revista de filología, no. 28 (January 1, 2012): 307. http://dx.doi.org/10.5944/epos.28.2012.12278.
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Martin McDonagh’s The Beauty Queen of Leenane portrays a brutal domestic crisis between mother and daughter in an Irish rural household set in Connemara. The raging dissensions in their relationship emerge as a consequence of the load of religious tradition, deep-seated generic mores, and liminal nationalistic ambiguities. The blatant «in-yer-face » drama Maureen incarnates revolves against her fragile hopes for personal realization, and her mother’s fight for control. Furthermore, Maureen’s frustration and anxiety are deeply intensified by her claustrophobic, murky environment. Thus, McDonagh´s contemporary Irish identity distills a strong sense of entropy which struggles to redefine itself through an interwoven, post-colonial Irish heritage, traced by internal strife, diaspora and exile. Ultimately, what is unique to McDonagh’s play is his pessimistic voice offering no solution for a better future. His clear, honest and provocative testimony speaks of awareness of the Irish history and its dramatic consequences in the present.La obra de Martin McDonagh The Beauty Queen of Leenane (La reina de belleza de Leenane) escenifica una brutal crisis doméstica entre madre e hija en una casa familiar irlandesa, situada en la región de Connemara. Las violentas confrontaciones que salpican la convivencia de ambas mujeres surgen como resultado de una tradición religiosa y social arraigada, con un trasfondo liminal nacionalista ambiguo e indeterminado. Perteneciente al denominado teatro «in-yer-face», la protagonista del cruento drama, Maureen, se enfrenta al conflicto que emana entre sus frágiles aspiraciones personales y el férreo control que ejerce su madre sobre su vida. La frustración y ansiedad que padece Maureen se ven incrementadas, adicionalmente, por el entorno doméstico claustrofóbico y lóbrego en el que discurre su vida. Así, McDonagh consigue transmitir la entropía existencial que destila la identidad irlandesa contemporánea, que lucha por redefinirse a través de un complejo legado postcolonial, marcado por los conflictos internos, la diáspora y el desarraigo. Finalmente, la originalidad de McDonagh recae en su propia voz, honesta, pesimista y carente de esperanza. Su testimonio, provocador y lacerante, habla de la conciencia histórica irlandesa, y sus dramáticas consecuencias en el presente.
Dissertations / Theses on the topic "In-Yer-Face drama"
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Bal, Mustafa. "The End: The Apocalyptic In In-yer-face Drama." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12610781/index.pdf.
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This thesis presents a close analysis of one of the ageless discourses of human life &ndashapocalypse, or the End &ndash
within the highly controversial In-Yer-Face drama of the 1990s British stage. The study particularly argues that there is a strong apocalyptic sense in the plays of the decade, and it discovers that the apocalyptic representation within these plays varies. Five plays by three prominent playwrights of the decade are used to illustrate and expand the focus. After a detailed examination of the apocalyptic discourse, it is claimed that Mark Ravenhill&rsquo
s Shopping and F***ing and Faust is Dead are based on certain philosophical ideas of the End, Anthony Neilson&rsquo
s Normal and Penetrator reveal the apocalyptic through an extreme use of violence, and Sarah Kane&rsquo
s 4.48 Psychosis comingles representations of the apocalyptic and psychological trauma.
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Ayache, Solange. "‘In-Yer-Head’ Theatre : Staging the Mind in Contemporary British Drama. Towards a Quantum Psychopoetics of the Stage." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040010.
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Cette étude s’intéresse à l’espace mental comme nouveau terrain d’exploration du drame britannique contemporain, et examine les manifestations d’un mouvement qui « met en pièces » les régions inexplorées des pensées inconscientes et les contrées impénétrables du traumatisme. Puisant dans les découvertes de la psychanalyse et des sciences cognitives, inspiré par le changement de paradigme de la mécanique quantique et ses interrogations sur le rôle et la nature de la conscience, ce théâtre non plus tant « in-yer-face » que « in-yer-head » s’éloigne de la sensibilité des années 1990. Les pièces de Crimp, Kane, Churchill, Cooper, Frayn, Stephens, Payne, Haddon, Ravenhill, Neilson et d’autres déconstruisent et reconstruisent le personnage comme la somme virtuelle de tous ses possibles. Le mode d’existence spéculatif, diffracté et pluriel du sujet renouvelle les définitions du réalisme psychologique et du réalisme théâtral. Ce travail étudie les modalités de cette « psychopoétique quantique » autour de concepts clés comme la probabilité ou l’incertitude, et montre comment des métaphores issues de la théorie quantique comme la dualité onde-particule ou les mondes multiples servent à illustrer l’indétermination de la psyché en évoquant les mécanismes de défense et autres symptômes qui constituent la réalité subjective d’esprits affectés par le traumatisme, la psychose, le stress ou la maladie neurologique. Nous montrons qu’en explorant la nature de la conscience, du soi et de la réalité ainsi que la condition des femmes, ces pièces posent des questions philosophiques sur le libre arbitre et la possibilité de choix dans un monde devenu plus incertain et imprévisible que jamaisThis study asserts that the human mind has become the new frontier in contemporary British drama, and interrogates and assesses manifestations of this movement which stages uncharted regions of thought and the dark territories of traumatic mindscapes. Drawing on theories from psychoanalysis and cognitive science, and inspired by the paradigm shifts of quantum mechanics and its interrogations on the role and nature of consciousness, this new theatre moves from “in-yer-face” to “in-yer-head” and away from the sensibility of the “nasty nineties.” Plays by Crimp, Kane, Churchill, Cooper, Frayn, Stephens, Payne, Haddon and others deconstruct and reconstruct the character as thevirtual sum of all her possibilities. In these mental spaces, the subject’s speculative, diffracted and plural mode of existence redefines psychological realism and stage realism. Examining the modalities of a quantum “psychopoetics” around key concepts such as probability and uncertainty, I show how metaphors borrowed from quantum theory based on the double slit-experiment, the wave-particle duality, the wavefunction collapse, the observer effect, quantum decoherence, quantum entanglement, and the many-worlds interpretation are used to emphasise the intrinsic indeterminacy of our minds. They evoke a number of psychological defense mechanisms and other symptoms that constitute the subjective reality of disturbed minds affected by trauma, psychosis, stress or neurological disease. By exploring the nature of mind, the self, and reality, and the condition of women, these plays address philosophical questions about free will and choice in a world that has become more uncertain and unpredictable than ever
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Boll, Julia. "Unlisted character : on the representation of war and conflict on the contemporary stage." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/7987.
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The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21st century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state of exception has become the status quo. Seminal studies on contemporary warfare and society such as Mary Kaldor's New & Old Wars (2005) and Ulrich Beck's World at Risk (2008 [2007]) trace how the face of war has changed over the past fifteen years. The dramatic texts examined in this thesis reach from plays depicting inner-state conflict, civil war and the politics of fear, for example Caryl Churchill's Far Away (2000), Sarah Kane's Blasted (1995) and Zinnie Harris's war trilogy (2005-2008) over documentary and verbatim-based plays and their attempt to portray the trauma of war by recreating on stage the process of giving testimony and by endorsing public grieving (e.g. various Tricycle productions and Gregory Burke's Black Watch [2006]), to adaptations of Greek tragedies (like Martin Crimp's Cruel and Tender [2004]) and a Shakespearean play. The questions underlying this work are: how can war be represented on stage? and, how do the plays replicate the sociological structures leading to violence and war and explore their transformation of societies? Springing from the discussion about 'New Wars' in the age of globalisation, it will be demonstrated here how these 'New Wars' also bring forth new plays about war.
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Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.
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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Buchler, Louise Anne. "In-yer-face : the shocking Sarah Kane." Thesis, 2008. http://hdl.handle.net/10413/213.
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Playwright, Sarah Kane emerged as a new voice in British writing in the early 1990s. Her work, recognized most notably for its shocking content, was the source of media hype, and rendered her work, with that of her peers, as In-Yer-Face Theatre.
This dissertation analyses the use of shock in Kane‟s work, with particular reference to her first and last plays: Blasted and 4.48 Psychosis. I discuss the shock elements employed by Kane in these texts and consider the reasons behind their use, particularly Kane‟s break with realism and subversion of form.
My research draws upon social constructionist thought as a strand of the larger discourses of postmodernism, in particular those which inform the existence of war, violence and trauma. Focusing too, on the work of theatre practitioners such as Antonin Artaud, whose „Theatre of Cruelty‟ is reminiscent of Kane‟s own theatre.
I discuss the origin of In-Yer-Face Theatre as well as its forerunners by examining Post-War British Theatre from the 1940‟s, especially those plays that have resonated on a provocative level. My research also explores the social and political factors influencing theatre over the decades and in relation to Kane, particularly the Thatcher government of the 1980s. I argue that the social and political climate of the 1980s and 1990s played a direct role in the formation of Kane‟s theatre and examine Kane‟s work and its reception in relation to other playwrights of the time. I have deliberately chosen to locate my research in terms of British theatre.Thesis (M.A. (Drama and Performance Studies)) - University of KwaZulu-Natal, Pietermaritzburg, 2008.
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Chang, Po-Jen, and 張伯任. "Absurdity, Revolt and Dialectic of Power: From the Drama of Existentialism, the Theatre of the Absurd to In-yer-face Theatre." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/w6a8h4.
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碩士國立臺灣大學
戲劇學研究所
106
Existentialism has been affected themes in drama and theatre for a long time. The Theatre of Absurd may be the most famous representative of this genre due to the absurdist philosopher Albert Camus. The emergence of absurdist theatre impacted on the drama criticism at that time, but its influence seems to be fading away. However, we can find out that existentialism keeps within the new wave of theatre because of the everlasting question of Being. Therefore, this thesis mainly focuses on finding the connection among three styles of drama: the drama of existentialism, the theatre of the absurd and in-yer-face theatre by analyzing their definition, historical background and central themes. Existence (power), absurdity and rebellion are the major subjects in the script analysis because they are three big points in the realm of existentialism, especially to Nietzsche, Sartre and Camus. By dissecting the representative play of these three different styles of drama, the ultimate goal is to find their essence in common and literary inheritance relationship.
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Jilemnická, Adéla. "Motiv "zoufalců" v současném českém dramatu." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-386454.
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This master's thesis concerns itself with the motive of "despair" in contemporary Czech drama. It includes an analysis of selected plays written after 2000 by leading Czech authors belonging to the middle generation (Petr Zelenka; David Drábek; Jiří Pokorný; Petr Kolečko; Tomáš Svoboda; Lenka Lagronová; Iva Klestilová, born Volánková). The aim of the thesis is to analyze these dramas, to define characteristic elements and to determine whether we can identify a clear "desperate people" motive within their characters, deeming it a characteristic feature of contemporary Czech drama written by the middle generation. Using a comparative method we explore typical repetitive motives of the characters - anti- heroes, which suffer from having an unfulfilled personal life, a feeling of loneliness or a midlife crisis. The master's thesis describes the causes and manifestations of despair of the characters, as well as the solutions the dramas offer to the bleak situation (insanity, suicide, miracle). KEYWORDS contemporary Czech drama, motive of "losers", in-yer-face theatre, Petr Zelenka, David Drábek, Jiří Pokorný, Petr Kolečko, Tomáš Svoboda, Lenka Lagronová, Iva Klestilová (Volánková)
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Drouin, Gabrielle. "Transactions, suivi de Dédramatiser le drame : usages et enjeux de l’humour et de la violence du langage dans la pièce Rouge Gueule d’Étienne Lepage." Thèse, 2016. http://hdl.handle.net/1866/19352.
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Mémoire en recherche-créationLe présent mémoire propose d’interroger la construction du récit médiatique dans la fable théâtrale contemporaine. D’abord par une fiction au dispositif épuré, mais au verbe cru et humoristique, la pièce de théâtre Transactions, puis par un essai sur la pièce de théâtre Rouge Gueule d’Étienne Lepage, nous désirons explorer les liens qui unissent le comique et la violence du langage, notamment par des affinités avec le mouvement britannique In-Yer-Face (Sarah Kane) et tels que mis de l’avant par un « personnage-réseau » porteur de discours, en écho à l’« impersonnage » de Jean-Pierre Sarrazac. En ce sens, nous avons convoqué les notions de dialogisme (Bakhtine) hétéromorphe (Hervé Guay), d’esthétique de la divergence (Hervé Guay), de polyphonie (Bakhtine) hétéromorphe (Hervé Guay) et de la mise à mal d’un conflit afin d’expliquer le renouvellement d’une esthétique dramaturgique tout à fait contemporaine, se rapportant à la Toile et dont le spectateur émancipé (Jacques Rancière) devient un actant principal par l’intermédiaire duquel le théâtre prend tout son sens.
This thesis aims to question the construction of the media narrative in the contemporary theatrical fable. First, by analyzing the play Transactions and its sober scenography, yet raw and humorous words, and subsequently examining Étienne Lepage’s Rouge Gueule, we will explore the links between the humor and violence of language. This includes the affinity with the British movement In-Yer-Face (Sarah Kane) as put forward by a "network-character" speech bearer in response to Jean-Pierre Sarrazac’s "non-character". Thus, this paper will study concepts including heteromorph (Hervé Guay) dialogism (Bakhtin), aesthetics of the divergence (Hervé Guay), heteromorph (Hervé Guay) polyphony (Bakhtine) and the redefinition of conflict in order to explain the replenishment of an aesthetic dramaturgy that is quite contemporary, relevant to the Web and in which the emancipated audience (Jacques Rancière) becomes a main actor through which the play takes on its full meaning.
Books on the topic "In-Yer-Face drama"
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Shepherd-Barr, Kirsten E. 6. Bearing witness: drama since 1980. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199658770.003.0007.
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Theatre since 1980 is marked by a number of striking new forms, movements, and innovations, ushered in by a plethora of fresh new playwrights bursting on to the scene as well as the ongoing work of long-established playwrights. Through developments like verbatim theatre—a renewal of documentary drama—‘in-yer-face’ theatre, and postmodern theatre, drama in recent decades has been breaking taboos and fundamentally challenging what is acceptable for theatrical representation. ‘Bearing witness: drama since 1980’ describes some of the plays that define these innovations and goes on to discuss the introduction of science to the stage and the increasing adaptation and reimagining of older works.
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Wallace, Clare. Irish Drama since the 1990s. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.34.
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While writers such as Friel and Murphy seemed to provide a certain continuity in the closing years of the twentieth century, a new generation of writers emerged in the 1990s for whom the Irish dramatic tradition seemed less an inheritance than a foil to be played against (or with) or, in some cases, an irrelevance. For instance, while Martin McDonagh’s work was sometimes associated with British ‘in-yer-face’ theatre of the 1990s, to some commentators his work made more sense as a subversion of an earlier Irish tradition. In the case of Conor McPherson, the breakdown of a community that made a shared theatre culture possible was registered in a turn to monologue, while writers such as Mark O’Rowe and Enda Walsh showed a freedom of dramatic form and a set of dramatic concerns reflecting immersion in a mediatized, globalized late modernity.
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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.
Book chapters on the topic "In-Yer-Face drama"
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Speicher, Hannah. "4.3 Shoppen und Ficken von Mark Ravenhill als prototypisches In-yer-face-Drama (2. Ebene, Textanalyse)." In Theater, 154–69. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456170-015.
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"‘In-Yer-Face’ Theatre and the Crisis of Dialectics: Mark Ravenhill’s Post-Brechtian Drama in Anti-Dialectical Times." In Brecht and Post-1990s British Drama. Methuen Drama, 2021. http://dx.doi.org/10.5040/9781350172814.ch-001.
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