Academic literature on the topic 'In-Yer-Face Theatre'
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Journal articles on the topic "In-Yer-Face Theatre"
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.
Full textHong, Ju-Young. "The Aesthetic Characteristics of In-Yer-Face Theatre." Joural of the Korea Entertainment Industry Association 8, no. 4 (December 31, 2014): 17. http://dx.doi.org/10.21184/jkeia.2014.12.8.4.17.
Full textBaş, Elif. "The Quest of Young Turkish Playwrights: In-Yer-Face Theatre." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 114–32. http://dx.doi.org/10.2478/abcsj-2018-0007.
Full textDe 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.
Full textSierz, 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.
Full textSierz, 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.
Full textÇAĞLAYAN, Ezel. "Suratına (In-Yer-Face) Tiyatro’da Bir İletişim Şekli: Gölge ve Katarsis A Communication Format in In-Yer-Face Theatre: Shadow and Catharsis." Aydın Sanat İstanbul Aydın Üniversitesi Güzel Sanatlar Fakültesi Dergisi 7, no. 13 (2015): 57–63. http://dx.doi.org/10.17932/iau.sanat.2015.015/sanat_v07i13005.
Full textSierz, Aleks, and Mesut Günenç. "In Interview: Key Features of Contemporary British Drama." New Theatre Quarterly 39, no. 1 (January 30, 2023): 61–68. http://dx.doi.org/10.1017/s0266464x22000379.
Full textEl-Sawy, Amany. "The Space Aesthetics of In-Yer-Face Theatre in Phyllis Nagy's The Strip." Textual Turnings: An International Peer-Reviewed Journal in English Studies 2, no. 1 (December 1, 2020): 101–15. http://dx.doi.org/10.21608/ttaip.2020.133419.
Full textUrban, 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.
Full textDissertations / Theses on the topic "In-Yer-Face Theatre"
Sierz, Aleks. "In yer face theatre : interpreting new writing for British theatre in the 1990s and after." Thesis, University of Westminster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434293.
Full textAmaral, Camila Aparecida Viana. "Desafios estético-formais na peça Blasted, de Sarah Kane." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-13022017-114925/.
Full textThe present work aims to study specific formal-aesthetic issues in the 1995 play Blasted by British playwright Sarah Kane in order to understand the play´s form as related to its socio-historical context. In general terms, this study aims to investigate the formal procedures used by Kane and the plays relations between theme and form, according to Peter Szondi´s assumptions which comprehend that form could be conceived of as precipitated content. In this sense, we will analyze how themes such as psychological, verbal and physical violence, war, sexual abuse and taboo scenes of heterosexual and homosexual intercourse, for example, or cannibalism, among others, are widely used by the playwright and how they are structurally embedded in the plot of the play. The study starts with a brief historical introduction to the political, economic and social context of England in the nineties, followed by an introduction to the play and its theatrical context, to the playwright and to the aesthetic principles of In-yer-face theatre. Then, we focus on the detailed analysis of each scene of the play, stressing its relevant issues. Lastly, we proceed to analyze the formal relations and the aesthetic choices present in Blasted, as related to the social-historical events that the play refers to.
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.
Full textAyache, 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.
Full textThis 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
Campos, Fabiano Fleury de Souza. "As formas do consumo no teatro político de Mark Ravenhill." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-10042015-121523/.
Full textIn this dissertation, our goal is to analyze the theatrical elements that constitute the controversial play Shopping and Fucking (1996), by the British playwright Mark Ravenhill, relating its characteristics of form and content and their resulting intersections. The focus lies not only on the important theoretical works of literature, theatre and culture critique by Peter Szondi, Anatol Rosenfeld, Roberto Schwarz and Fredric Jameson, but also on those of authors more closely tied to economics and world system critics such as Ernst Mandel and Robert Kurz. The analysis concludes that Ravenhill simultaneously relates aspects of subjectivity and the contemporary society both in a state of permanent crisis. The first part of the dissertation introduces the play, the In-yer-face theatre and the Thatcher period. The second part emphasizes the themes presented addressed in relation to the form. The third part stresses the predominance of formal analysis, in which epic elements, somewhat garbled, deconstruct the dramatical form. Nevertheless, according to bibliographical research, such an analysis has not been developed, to the present day, by critics familiar with Ravenhill\'s theatrical works. In the concluding chapter an understanding is sought towards the plays form and its correspondences with the socio-historical context following our previous analysis.
Dennis, Krysta. "Globalizing McDonagh : the Playwright in Performance on the World Stage." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA058.
Full textThis thesis examines the means by which the plays of Martin McDonagh, both in text and performance, display the destructive, homogenizing, or stereotype-reinforcing element of globalization, as well as the positive elements such as globalized cultural exchange and (g)localization. It does so through an analysis of the humorous representations of terrorism and terrorization present in the plays, an in depth study of three French translations of the plays, and a study of the representation of Irishness in McDonagh’s plays abroad
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.
Full textDoctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Sedláková, Jitka. "Sociální témata v dílech In-Yer-Face Theatre." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-296516.
Full textBuchler, Louise Anne. "In-yer-face : the shocking Sarah Kane." Thesis, 2008. http://hdl.handle.net/10413/213.
Full textThesis (M.A. (Drama and Performance Studies)) - University of KwaZulu-Natal, Pietermaritzburg, 2008.
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.
Full text國立臺灣大學
戲劇學研究所
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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.
Books on the topic "In-Yer-Face Theatre"
Boles, William C., ed. After In-Yer-Face Theatre. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1.
Full textBoles, William C. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. Palgrave Macmillan, 2020.
Find full textBoles, William C. After in-Yer-Face Theatre: Remnants of a Theatrical Revolution. Springer International Publishing AG, 2021.
Find full textWard, Ian. The Play of Law in Modern British Theatre. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474450140.001.0001.
Full textShepherd-Barr, Kirsten E. 6. Bearing witness: drama since 1980. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199658770.003.0007.
Full textWallace, 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.
Full textBook chapters on the topic "In-Yer-Face Theatre"
Stöckl, Korbinian. "“Experiential, not speculative”: Love In and After In-Yer-Face." In After In-Yer-Face Theatre, 217–30. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_14.
Full textAyache, Solange. "From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neilson." In After In-Yer-Face Theatre, 153–69. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_10.
Full textOldham, Thomas A. "Philip Ridley: Still In-Yer-Face." In After In-Yer-Face Theatre, 171–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_11.
Full textBoles, William C. "Introduction: Reflections on In-Yer-Face from the Other Side of the Atlantic." In After In-Yer-Face Theatre, 1–17. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_1.
Full textBadham, Cath. "Tales from the East End: Dialogic and Confessional Storytelling as Therapy (?) in the Plays of Philip Ridley." In After In-Yer-Face Theatre, 185–200. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_12.
Full textBoles, William C. "Joe Penhall’s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad." In After In-Yer-Face Theatre, 201–15. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_13.
Full textKinghorn, Shane. "The Echo Chamber: Theater in a “Post-Truth” World." In After In-Yer-Face Theatre, 231–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_15.
Full textHolden, Nicholas. "“In the Pursuit of New Writers”: The Royal Court Young Peoples’ Theatre and the Development of First-Time Playwrights in the 1990s." In After In-Yer-Face Theatre, 21–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_2.
Full textSaunders, Graham. "“A Shop Window for Outrage”: Harold Pinter’s Ashes to Ashes, In-Yer Face Theatre and the Royal Court’s 1996 West End Season." In After In-Yer-Face Theatre, 37–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_3.
Full textNewberry, Rachael. "“The Last Rolo”: Love, Conflict and War in Anthony Neilson’s Penetrator." In After In-Yer-Face Theatre, 57–70. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_4.
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