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Journal articles on the topic 'In-Yer-Face drama'
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1
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.
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Nikcevic, Sanja. "British Brutalism, the ‘New European Drama’, and the Role of the Director." New Theatre Quarterly 21, no. 3 (July 18, 2005): 255–72. http://dx.doi.org/10.1017/s0266464x05000151.
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The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style then affected the kind of new writing that was considered innovative and acceptable at such events. She argues against the claims made for the political significance of plays such as Sarah Kane's Blasted, suggesting rather that the acceptance of the normality of violence without reference to its social context negates the possibility of remedial action. A former Fulbright Scholar, Sanja Nikcevic is Head of the Department of English Literature at the University of Osijek, Croatia. Her full-length publications include The Subversive American Drama: Sympathy for Losers (1994), Affirmative American Drama: Long Live the Puritans (2003), and New European Drama: the Great Deception (2005). She was the founder and for eight years the president of the Croatian Centre of the International Theatre Institute.
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Beh, Emmerencia Sih. "Dramatic shift: Conservative to Avant-garde in Sarah Kane’s “4.48 Psychosis”." Religación. Revista de Ciencias Sociales y Humanidades 6, no. 28 (June 20, 2021): 142–53. http://dx.doi.org/10.46652/rgn.v6i28.792.
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Drama is a genre in literature that recreates not only existing actions but also interprets the different versions of truth put on stage. Sarah Kane, a dramatist, is usually associated with the new theatrical form of writing called the in-yer-face theatre. Kane, after writing her last play, 4.48 Psychosis commits suicide. For this reason, many critics consider this play as a ‘suicide notes’ which makes it limiting since these critics do not pay attention to her extensive use of styles and her experimental shift from conservative to avant-garde dramatic constructions. While her earlier works Blasted, Phaedra’s Love and Cleansed were centred principally on shock irritating violent and relatively hostile metaphors, the style of her two last plays Crave and 4.48 Psychosis shifts blatantly as they are written in a conspicuously poetic style. Her last play which is the focus of this study swings from conventional to unconventional style of writing given that she deviates from the classical presentation of drama. This study uses the theoretical backdrop of Postmodernism for its analysis. The paper demonstrates that analysing 4.48 Psychosis in connection to Kane’s life and death is restrictive and biased as it procures a plethora of innovative scopes.
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FRIEZE, JAMES. "Naked Truth: Theatrical Performance and the Diagnostic Turn." Theatre Research International 36, no. 2 (May 31, 2011): 148–62. http://dx.doi.org/10.1017/s0307883311000228.
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In a fashion that harks back to the birth of naturalistic drama, but also reflects contemporary anxieties about the etiolation of the real, the forensic capabilities of theatre have become, in the last two decades, the primary focus of theatrical attention. Reconsidering landmark works and rhetorical frames that helped to establish verbatim, virtual and in-yer-face theatre, this article explores the ways in which these key works and genres deploy, and attempt to jam, theatre's diagnostic machinery. The article contextualizes that machinery in relation to the medical underpinnings of naturalism, the growth of theatrical reflexivity from Pirandello to Beckett to Blast Theory, and the televisual phenomena of crime-scene investigation and fly-on-the-wall ‘reality shows’. In the final section I move to address two works which are explicitly about diagnosis, but which, in signal and purposeful ways, evade diagnosis: Must, by American performance artist Peggy Shaw and British company Clod Ensemble; and If That's All There Is, by UK-based company Inspector Sands.
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Rees, Catherine. "The Good, the Bad, and the Ugly: the Politics of Morality in Martin McDonagh's The Lieutenant of Inishmore." New Theatre Quarterly 21, no. 1 (January 26, 2005): 28–33. http://dx.doi.org/10.1017/s0266464x04000314.
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The recent plays of Martin McDonagh have fascinated and repelled critics for nearly a decade. His idiosyncratic blend of rural Irish mythology and ‘in-yer-face’ aggression has both caused consternation and won high praise, but the motivations and inspirations of McDonagh's work have not been widely discussed. Here, Catherine Rees addresses some of the common critical assaults on one of his most contentious plays, The Lieutenant of Inishmore (2001), and seeks to rescue the playwright from misunderstanding and heavy-handed critical treatment. She also aims to clarify some of the issues surrounding this politically charged and controversial work, and discusses it within the wider context of British and Irish drama. An earlier version of this article was given as a paper at the ‘Contemporary Irish Literature: Diverse Voices’ conference at the University of Central Lancaster in April 2003. Rees has presented on various aspects of McDonagh's work at a joint American Conference for Irish Studies and British Association of Irish Studies conference, and is currently working on a PhD about his plays at the University of Wales, Aberystwyth.
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Saunders, Graham. "‘Out Vile Jelly’: Sarah Kane's ‘Blasted’ and Shakespeare's ‘King Lear’." New Theatre Quarterly 20, no. 1 (January 5, 2004): 69–78. http://dx.doi.org/10.1017/s0266464x03000344.
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Sarah Kane's notorious 1995 debut, Blasted, has been widely though belatedly recognized as a defining example of experiential or ‘in-yer-face’ theatre. However, Graham Saunders here argues that the best playwrights not only innovate in use of language and dramatic form, but also rewrite the classic plays of the past. He believes that too much stress has been placed on the play's radical structure and contemporary sensibility, with the effect of obscuring the influence of Shakespearean tradition on its genesis and content. He clarifies Kane's gradually dawning awareness of the influence of Shakespeare's King Lear on her work and how elements of that tragedy were rewritten in terms of dialogue, recast thematically, and reworked in terms of theatrical image. He sees Blasted as both a response to contemporary reality and an engagement with the history of drama. Graham Saunders is Senior Lecturer in Theatre Studies at the University of the West of England, Bristol, and author of the first full-length study of Kane's work: ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes (Manchester University Press, 2002). An earlier version of this article was given as a paper at the ‘Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium’ conference in Brussels, May 2001. Saunders is currently working on articles about Samuel Beckett and Edward Bond.
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Dominte, Carmen. "DramAcum – The New Wave of Romanian contemporary dramaturgy." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 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 considered that it had to come to a point of changing the old patterns, of introducing new themes, new structures, new means of performing in the attempt of seducing and shocking the audience. Most of the dramatic texts focus on the plots about hard human existence such as racism, madness, suicide, sexuality, drug addiction and any type of abuse. The language is vulgar and slangy. All the dramatic texts when performed on stage invade the personal space of the people watching, who is now considered one of the characters. It is not only the dramatic text that is taken into consideration, but the performance itself. The new type of theatre developed in Russia, Poland and Romania, giving specific projects (Teatr.doc, The Drama Laboratory and DramAcum). All were influenced by the verbatim dramatic style performed in theatres under the slogan of the in-yer-face. The study intends to explore the importance of the Romanian theatrical project – DramAcum, as a new type of theatre and dramaturgy.