Log in

Relevant bibliographies by topics / In-Yer-Face Theatre / Journal articles

To see the other types of publications on this topic, follow the link: In-Yer-Face Theatre.

Journal articles on the topic 'In-Yer-Face Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 47 journal articles for your research on the topic 'In-Yer-Face Theatre.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

2

Baş, Elif. "The Quest of Young Turkish Playwrights: In-Yer-Face Theatre." American, British and Canadian Studies 30, no. 1 (2018): 114–32. http://dx.doi.org/10.2478/abcsj-2018-0007.

Full text

Abstract:

Abstract In-yer-face theatre, which emerged in Britain in the 1990s, became extremely popular on the stages of Istanbul in the new millennium. Some critics considered this new outburst as another phase of imitation. This phase, however, gave way to a new wave of playwrights that wrote about Turkey’s own controversial problems. Many topics, such as LGBT issues, found voice for the first time in the history of Turkish theatre. This study examines why in-yer-face theatre became so popular in this specific period and how it affected young Turkish playwrights in the light of Turkey’s political atmo

APA, Harvard, Vancouver, ISO, and other styles

3

Hong, Ju-Young. "The Aesthetic Characteristics of In-Yer-Face Theatre." Joural of the Korea Entertainment Industry Association 8, no. 4 (2014): 17. http://dx.doi.org/10.21184/jkeia.2014.12.8.4.17.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

De Vos, Laurens. "Aleks Sierz, In-Yer-Face Theatre. British Drama Today." Documenta 19, no. 2 (2019): 123–26. http://dx.doi.org/10.21825/doc.v19i2.11369.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

ÇAĞLAYAN, 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 text

APA, Harvard, Vancouver, ISO, and other styles

7

Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

Full text

Abstract:

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, Scotti

APA, Harvard, Vancouver, ISO, and other styles

8

Sierz, Aleks, and Mesut Günenç. "In Interview: Key Features of Contemporary British Drama." New Theatre Quarterly 39, no. 1 (2023): 61–68. http://dx.doi.org/10.1017/s0266464x22000379.

Full text

Abstract:

In this interview on 22 March 2022 in London, Mesut Gunenc talks to theatre critic and historian Aleks Sierz about how his work has influenced contemporary British drama, why he chose the name ‘in-yer-face theatre’ for 1990s avant-garde plays, and why some writers have rejected the label. They also discuss the differences between experiential and experimental theatre, especially focusing on the work of Anthony Neilson, and finish by considering the key themes that characterize 1990s new writing in Britain.Aleks Sierz is author of the seminal In-Yer-Face Theatre: British Drama Today (Faber, 200

APA, Harvard, Vancouver, ISO, and other styles

9

El-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 (2020): 101–15. http://dx.doi.org/10.21608/ttaip.2020.133419.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

ZARHY-LEVO, YAEL. "Dramatists under a label: Martin Esslin’s The Theatre of the Absurd and Aleks Sierz’ In-Yer-Face Theatre." Studies in Theatre and Performance 31, no. 3 (2011): 315–26. http://dx.doi.org/10.1386/stp.31.3.315_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.

Full text

Abstract:

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 produc

APA, Harvard, Vancouver, ISO, and other styles

12

Watt, Stephen. "Pinterian Violence and the Problem of Affirmation." Harold Pinter Review 5, no. 1 (2021): 38–58. http://dx.doi.org/10.5325/haropintrevi.5.2021.0038.

Full text

Abstract:

ABSTRACT This article positions Harold Pinter's later plays within the context of both rationalizations of violent means to achieve justifiable ends and a tradition of violent staging at the Royal Court Theatre. The former context includes explanations of violence in dramatic Tragedy, in Antonin Artaud's Theatre of Cruelty, and Edward Bond's political theatre; the latter, scenes of violence in the post–“In-Yer-Face” plays of Simon Stephens, David Ireland, and Jez Butterworth. The argument finally arrives at Pinter's increasingly negative worldview that while no discourse can justify the use of

APA, Harvard, Vancouver, ISO, and other styles

13

DEVRİM, Nehir. "POSTMODERNIST ANALYSIS OF THE PILLOWMAN." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 9, no. 28 (2022): 1–8. https://doi.org/10.5281/zenodo.7268669.

Full text

Abstract:

Postmodernism is among the most discussed subjects in contemporary world. Despite the criticism, postmodernism has been thriving in many different subject areas after modernism’s failure in keeping its promise for a “better life”. This paper mainly aims to examine and discuss devices and techniques used in the 2003 play The Pillowman by Martin McDonagh in the light of postmodernism. This study will examine postmodernist features and devices such as intertextuality, narratives/grand-narratives, black humor, metafiction, hyperreality, self-reflexivity, irony, paranoia, fragment

APA, Harvard, Vancouver, ISO, and other styles

14

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 (2004): 187. http://dx.doi.org/10.1017/s0307883304220600.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Ridley, Philip, and Aleks Sierz. "‘Putting a New Lens on the World’: the Art of Theatrical Alchemy." New Theatre Quarterly 25, no. 2 (2009): 109–17. http://dx.doi.org/10.1017/s0266464x09000207.

Full text

Abstract:

Philip Ridley is one of the most imaginative and sensational playwrights working in Britain today. Born in 1964, he began by studying painting at St Martin's School of Art in London and wrote the highly acclaimed screenplay for The Krays (1990). He made his theatre debut at the Bush Theatre in 1991 with The Pitchfork Disney. Since then, other plays have included The Fastest Clock in the Universe (Hampstead, 1992), Ghost from a Perfect Place (Hampstead, 1994), Vincent River (Hampstead, 2000; Trafalgar Studios, 2007), and the highly controversial Mercury Fur (Paines Plough/Plymouth, 2005). This

APA, Harvard, Vancouver, ISO, and other styles

16

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 (2003): 291–93. http://dx.doi.org/10.1017/s0040557403300146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

18

Golban, Tatiana, and Derya Benli. "The Quest for An Authentic Self: Memory and Identity in Philip Ridley’s Mercury Fur." BORDER CROSSING 7, no. 2 (2017): 305–16. http://dx.doi.org/10.33182/bc.v7i2.468.

Full text

Abstract:

Although Philip Ridley’s popular play Mercury Fur (2005) represents, by its display of disturbing powerful images of violence and rape, one of the most shocking examples of in-yer-face theatre, the play’s major concern is rather with the authentic individual self and authentic human relationships. The purpose of this study is to reveal the ways in which Ridley’s dramatic work displays the search for an authentic self in a highly consumerist world. In this respect, Heidegger’s theory of Being along with various postmodern concepts such as memory, forgetting, and identity are discussed in relati

APA, Harvard, Vancouver, ISO, and other styles

19

FRIEZE, JAMES. "Naked Truth: Theatrical Performance and the Diagnostic Turn." Theatre Research International 36, no. 2 (2011): 148–62. http://dx.doi.org/10.1017/s0307883311000228.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

20

Ravenhill, Mark. "A Tear in the Fabric: the James Bulger Murder and New Theatre Writing in the 'Nineties." New Theatre Quarterly 20, no. 4 (2004): 305–14. http://dx.doi.org/10.1017/s0266464x0400020x.

Full text

Abstract:

It is not yet ten years since Mark Ravenhill's Shopping and Fucking reached the stage of the Royal Court, during its West End exile in 1996; yet the play has already become, with Sarah Kane's Blasted, identified as central to the emergence of so-called ‘in-yer-face’ theatre. While Mark Ravenhill recognized the influence of such writers as Martin Crimp and David Mamet, it was only recently, during a discussion over coffee about a possible screenplay, that he began to consider the effects of both private and public events of 1993 upon his emergence as a writer – the death of a partner, and the i

APA, Harvard, Vancouver, ISO, and other styles

21

Saunders, Graham. "‘Out Vile Jelly’: Sarah Kane's ‘Blasted’ and Shakespeare's ‘King Lear’." New Theatre Quarterly 20, no. 1 (2004): 69–78. http://dx.doi.org/10.1017/s0266464x03000344.

Full text

Abstract:

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 Shak

APA, Harvard, Vancouver, ISO, and other styles

22

Tönnies, Merle. "William C. Boles (ed.). 2020. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. Cham: Palgrave Macmillan, xvi + 251 pp., € 96.29." Anglia 139, no. 2 (2021): 455–59. http://dx.doi.org/10.1515/ang-2021-0034.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Troha, Gašper. "Contemporary Drama and the Question of the Neo-avant-garde Legacy of the 1960s and 1970s." Amfiteater 11, no. 1 (2023): 124–45. http://dx.doi.org/10.51937/amfiteater-2023-1/124-145.

Full text

Abstract:

To some extent, contemporary drama is the heir of the neo-avant-garde of the late 1960s and 1970s. This time was that of the so-called performative turn, which pulled theatre away from representation and towards presentation. The subsequent development can be designated by various labels, such as postdramatic theatre, the aesthetics of the performative and, in the case of dramatic texts, the no longer dramatic theatre text, “In-Yer-Face” theatre, etc. In Slovenia, a decisive turn from text to event took place towards the end of the 1960s. During this time, the first happenings and performance

APA, Harvard, Vancouver, ISO, and other styles

24

Troha, Gašper. "Contemporary Drama and the Question of the Neo-avant-garde Legacy of the 1960s and 1970s." Gledališke in medumetnostne raziskave 11, no. 1 (2023): 124–45. http://dx.doi.org/10.51937/amfiteater_2023_1/124-145.

Full text

Abstract:

To some extent, contemporary drama is the heir of the neo-avant-garde of the late 1960s and 1970s. This time was that of the so-called performative turn, which pulled theatre away from representation and towards presentation. The subsequent development can be designated by various labels, such as postdramatic theatre, the aesthetics of the performative and, in the case of dramatic texts, the no longer dramatic theatre text, “In-Yer-Face” theatre, etc. In Slovenia, a decisive turn from text to event took place towards the end of the 1960s. During this time, the first happenings and performance

APA, Harvard, Vancouver, ISO, and other styles

25

Troha, Gašper. "Contemporary Drama and the Question of the Neo-avant-garde Legacy of the 1960s and 1970s." Amfiteater 11, no. 1 (2023): 104–45. http://dx.doi.org/10.51937/amfiteater-2023-1/104-145.

Full text

Abstract:

To some extent, contemporary drama is the heir of the neo-avant-garde of the late 1960s and 1970s. This time was that of the so-called performative turn, which pulled theatre away from representation and towards presentation. The subsequent development can be designated by various labels, such as postdramatic theatre, the aesthetics of the performative and, in the case of dramatic texts, the no longer dramatic theatre text, “In-Yer-Face” theatre, etc. In Slovenia, a decisive turn from text to event took place towards the end of the 1960s. During this time, the first happenings and performance

APA, Harvard, Vancouver, ISO, and other styles

26

Troha, Gašper. "Contemporary Drama and the Question of the Neo-avant-garde Legacy of the 1960s and 1970s." Amfiteater 11, no. 1 (2023): 124–44. http://dx.doi.org/10.51937/amfiteater-2023-1/124-144.

Full text

Abstract:

To some extent, contemporary drama is the heir of the neo-avant-garde of the late 1960s and1970s. This time was that of the so-called performative turn, which pulled theatre away fromrepresentation and towards presentation. The subsequent development can be designatedby various labels, such as postdramatic theatre, the aesthetics of the performative and, in thecase of dramatic texts, the no longer dramatic theatre text, “In-Yer-Face” theatre, etc. In Slovenia, a decisive turn from text to event took place towards the end of the 1960s.During this time, the first happenings and performance

APA, Harvard, Vancouver, ISO, and other styles

27

Zengin, Mevlude. "The Postmodern Parasitic Self in Sarah Kane’s “Phaedra’s Love”." Toplum ve Kültür Araştırmaları Dergisi, no. 15 (June 30, 2025): 79–96. https://doi.org/10.48131/jscs.1605111.

Full text

Abstract:

Phaedra’s Love (1996) is a typical Sarah Kane play with its inversion of the classical Greek convention of not performing violence on stage and its subversion of British Theatre traditions. It is also typical in the sense that Kane employed in it —as in her other plays— the actions which are challenging for the directors and difficult to watch for the audience; i.e. it is a play staging the unstageable. These features of Phaedra’s Love may be attributed to its being a play of in-yer-face theatre; however, the extremities in the extremes such as violence and sexuality of all kinds and the filth

APA, Harvard, Vancouver, ISO, and other styles

28

Troha, Gašper. "Struktura poezije Svetlane Makarovič med grotesko in metafiziko." Jezik in slovstvo 56, no. 1-2 (2024): 21–29. http://dx.doi.org/10.4312/jis.56.1-2.21-29.

Full text

Abstract:

The article analyses the poems Zvezda and Igla by Svetlana Makarovič, which were first published in the collection Tisti čas(1993), and later included by the author at the end of her selection entitled Samost, which was self-published in 2002. In these two poems,Makarovič clearly shows the form of the modernised ballad, as has been discussed in detail by Boris A. Novak, while at the same time introducing thesymbol of the star above the mountain. In addition to a detailed reading of both poems and an analysis of the juxtaposition and counterposition of thesound and sense of the words, the star

APA, Harvard, Vancouver, ISO, and other styles

29

Nikcevic, Sanja. "British Brutalism, the ‘New European Drama’, and the Role of the Director." New Theatre Quarterly 21, no. 3 (2005): 255–72. http://dx.doi.org/10.1017/s0266464x05000151.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

30

Beh, Emmerencia Sih. "Referencing and transformation in Sarah Kane’s Blasted." Journal of Languages, Linguistics and Literary Studies 1, no. 1 (2021): 11–17. http://dx.doi.org/10.57040/jllls.v1i1.66.

Full text

Abstract:

Sarah Kane’s Blasted, published in 1995, starts as a conventional familiar piece but progresses to dreadful cruelty and violence. This play was considered by most critics as an attention-pursuing adolescent play whose plot does not substantiate the extent and grade of violence the viewer/reader is required to sustain. The play was only taken seriously after the Royal Court Theatre did a premiere of it and it aggravated a serious explosion of hatred. The harsh critical responses of this play and two others published after it pushed Kane to publish her fourth play, Crave under a pseudonym, hopin

APA, Harvard, Vancouver, ISO, and other styles

31

Sierz, Aleks. "William C. Boles, ed. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. London: Palgrave Macmillan, 2020, xvi + 251 pp., £79.99 (hardback), £63.99 (ebook)." Journal of Contemporary Drama in English 9, no. 2 (2021): 369–73. http://dx.doi.org/10.1515/jcde-2021-0036.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

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 (2021): 142–53. http://dx.doi.org/10.46652/rgn.v6i28.792.

Full text

Abstract:

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 Bl

APA, Harvard, Vancouver, ISO, and other styles

33

최영주. "The Experimental Narrative Strategies of the British 1990s' In-yer-face Theatre -Centering on Martin McDonagh's The Beauty Queen of Leenane, Mark Ravenhill's Shopping and Fucking, and Sarah Kane's Cleansed-." Journal of korean theatre studies association ll, no. 35 (2008): 249–306. http://dx.doi.org/10.18396/ktsa.2008..35.008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Campos, Fabiano Fleury Souza. "A personagem ausente no universo esvaziado da peça Pool (no water), do dramaturgo Mark Ravenhill." Dramaturgia em foco 6, no. 2 (2025): 39–53. https://doi.org/10.5281/zenodo.14900688.

Full text

Abstract:

O emprego, em geral, de um personagem ausente na trama de textos dramatúrgicos não é um recurso estético novo ou sequer inusual no teatro. No entanto, usado com fins incomuns na peça <em>Pool (no water)</em>, o dramaturgo britânico contemporâneo Mark Ravenhill é capaz de atribuir aos personagens presentes sobre o palco da montagem inaugural desse espetáculo não apenas isso, mas, sobretudo, características que espelham de maneira crítica as relações sociais dentro do contexto histórico pr&oacu

APA, Harvard, Vancouver, ISO, and other styles

35

Almeshaal, Madhawy. "Giving Mirrors to Female Prisoners in Alice Birch’s [BLANK]." International Journal of Language and Literary Studies 3, no. 4 (2021): 167–81. http://dx.doi.org/10.36892/ijlls.v3i4.766.

Full text

Abstract:

The paper at hand attempts to interpret a contemporary British playwright’s theatrical artistic attempt to present a disturbing social issue and to suggest possible modes of help. In [BLANK], Alice Birch confronts the audience with the ugly cycle of women’s criminal conducts, female criminals’ offending and reoffending. The playwright employs the theater of the absurd as a theatrical medium through which she portrays the absurd reality of these female criminals and their families. To confront and shock the audience with the ugliness of these charterers’ reality, Birch uses In-Yer-Face theater.

APA, Harvard, Vancouver, ISO, and other styles

36

DOĞAN, Çağlayan. "UNKNOWN CHARACTERS and LOST UNITY: POSTDRAMATIC REFLECTIONS IN MARTIN CRIMP’S WHOLE BLUE SKY." AKRA Kültür Sanat ve Edebiyat Dergisi, January 3, 2024. http://dx.doi.org/10.31126/akrajournal.1403646.

Full text

Abstract:

This study aims to reveal the postdramatic theatricalities in Martin Crimp's Whole Blue Sky (2005). Martin Crimp has been one of the most prolific, controversial and satirical playwrights since his plays were first staged in British theatres in the late 1980s. While his early plays evoke the absurdist tradition, his later plays emphasize innovative theatrical elements labelled in-yer-face, postdramatic and New Writing. Considering Crimp's wide-ranging body of work, his distinctive theatrical style is clearly recognizable. Although postdramatic theater is usually associated with theater movemen

APA, Harvard, Vancouver, ISO, and other styles

37

Cox, Lara. "In-Yer-Face Mouths and Immobilisation: Parodies of Samuel Beckett’s Theatre by Sarah Kane." Polysèmes, no. 23 (June 30, 2020). http://dx.doi.org/10.4000/polysemes.7551.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

ЗАКАЛЮЖНИЙ, Л. "Modern theatre science paradigm and transformation of modes and genres in modern dramaturgy («In-yer-face theatre», «Pokolenie porno», «Новая драма»)". Humanitarian Education in Technical Universities, № 32 (21 грудня 2015). http://dx.doi.org/10.18372/2520-6818.32.9593.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

BAL, Mustafa, and Çağan FIRTINA. "Psychology of Belonging and Traumatised Soldiers in In-Yer-Face Theatre: Anthony Neilson’s Penetrator and Sarah Kane’s Blasted." Kültür ve İletişim, April 19, 2021. http://dx.doi.org/10.18691/kulturveiletisim.894880.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Sibashvili, Tatia. "Sarah Kane’s Cleansed and the interpretation of George Orwell’s 1984 in the play." Text and Interpretation, 2023. http://dx.doi.org/10.55804/jtsu-2960-9461-2023-19.

Full text

Abstract:

The article gives detailed analysis of Sarah Kane’s play Cleansed and the influence and interpretation of George Orwell’s novel 1984 in the play. Sarah Kane was the first dramatist, who fundamentally changed the 90’s British theatre and after her first play “Blasted” that was very scandalous the new style of plays became dominant on British stage called “In –yer- face” theatre. According to Sierz the widest definition of in-yer- face theatre is any drama that takes the audience by the scruff of the neck and shakes it until it gets the message. (Sierz 4: 2001) The primary function of this kind

APA, Harvard, Vancouver, ISO, and other styles

41

ŞENOL, Gamze, Sena Nur YILDIRIM, and Samet GUVEN. "ACCIDENTAL (!) KILLINGS IN SARAH KANE’S PHAEDRA’S LOVE." Adıyaman Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, December 25, 2022. http://dx.doi.org/10.14520/adyusbd.1062688.

Full text

Abstract:

Sarah Kane’s Phaedra’s Love can be described as a prominent play written in a chaotic time since it narrates the story of violence and power reflecting the dark background of society. She makes readers aware of social corruption through the in-yer-face theatre. It addresses the most primitive instinct of humanity (violence), to constitute an atmosphere in which the audience faces grim realities of life. Sarah Kane distinguishes herself from previous playwrights by presenting the realities. The writer also assigns significant roles to the characters to deal with problems they have, and they mak

APA, Harvard, Vancouver, ISO, and other styles

42

"The Woman as "the Other" in Glaspell's Trifles, Hansberry's A Raisin in the Sun and Kane's Blasted." International Journal of Arabic-English Studies 20, no. 2 (2020). http://dx.doi.org/10.33806/ijaes2000.20.2.9.

Full text

Abstract:

According to de Beauvoir, gender roles in society are in binary opposition: men are "the One", the absolute and essential, while the women are "the Other", the accidental and inferior. This concept of Otherness is clearly present in various elements of modern plays written by female playwrights in the twentieth century. This notion has been traced back in Susan Glaspell's Trifles through the play's setting and atmosphere, as well as the characters' understanding of "justice". For A Raisin in the Sun by the African American playwright Lorraine Hansberry, women experience the inferiority of bein

APA, Harvard, Vancouver, ISO, and other styles

43

ÖZATA, Cüneyt. "MARK RAVENHILL’İN SOPA ADLI OYUNUNUN ELEŞTİREL ANALİZİ: HEGEMONİK ÖZNELERİN OTORİTEYE BAŞKALDIRISI." Cankaya University Journal of Humanities and Social Sciences, August 16, 2023. http://dx.doi.org/10.47777/cankujhss.1290195.

Full text

Abstract:

The purpose of this paper is to analyse the hegemonic approach taken toward students in the British education system in the past from the perspectives of both the students and the teachers within the framework of structure and superstructure and to search for the erroneous disciplinary beliefs prevalent then. Mark Ravenhill chooses The Cane for the title of his play ironically, a choice which draws attention to the cane as a punishment tool employed by the authority to exercise its hegemony, and to the deficiencies of the previous educational system. Turning into a display of hegemonic power a

APA, Harvard, Vancouver, ISO, and other styles

44

Liang, Xiaoyan, and Lydia Catedral. "“Calming my heartbeat to enjoy the show”: the social-indexical meanings of in-yer-face theater recontextualized China." Multilingua, December 31, 2024. https://doi.org/10.1515/multi-2024-0081.

Full text

Abstract:

Abstract This article investigates the performability of in-yer-face theater that is recontextualized from the British to the Chinese context. We propose an interdisciplinary approach that uses sociolinguistic tools to empirically examine relevant issues for theater translation studies. By analyzing audience reactions from both online and offline platforms, we find that different audiences in China link this form of theater to context-specific indexical meanings. Our study reveals that Chinese audiences associate in-yer-face theater with the social persona of the wenyi qingnian – a stereotype

APA, Harvard, Vancouver, ISO, and other styles

45

Pełka, Artur. "„Wer hat Angst vorm schwarzen Mann?“ Aggressivität und Gewalt im ‚neuen Dokumentartheater‘." Convivium. Germanistisches Jahrbuch Polen, December 30, 2010, 153–73. http://dx.doi.org/10.18778/2196-8403.2010.09.

Full text

Abstract:

Aggression bzw. Gewalt gehören seit Beginn der Theaterkunst zu den dominierenden Motiven im dramatischen Diskurs. In den letzten Jahren nahm diese Tendenz, beeinflusst vom britischen ‚In-Yer-Face-Theater‘, zu und fand ihren besonderen Ausdruck im ‚neuen Dokumentardrama‘. Am Beispiel der Theatertexte Der Kick (2005) von Andres Veiel und Gesine Schmidt sowie Amoklauf mein Kinderspiel (2006) von Thomas Freyer, die spektakuläre brutale Gewalttaten dokumentieren, analysiert der vorliegende Beitrag zwei Strategien der Dramatisierung von Aggression und hebt die politisch-pädagogische Dimension des ‚n

APA, Harvard, Vancouver, ISO, and other styles

46

ÜNALAN, Özlem. "İŞLEVSEL HALK BİLİMİ KURAMI ÇERÇEVESİNDE TÜRK HALK KÜLTÜRÜNDE MENDİL." Motif Akademi Halk Bilimi Dergisi, February 24, 2023. http://dx.doi.org/10.12981/mahder.1223549.

Full text

Abstract:

Mendil; günlük hayatta sıkça ihtiyaç duyulan doğumdan ölüme yaşamın her evresinde kullanılan ve zaman zaman sembolik dil özelliği gösteren bir nesnedir. Başta el, yüz ve burun silmeye, teri kurulamaya, çeşitli eşyaları taşımaya ve üzerine yiyecek sermeye yaramaktadır. Mendil, erkek takımlarında veya yöresel kadın kıyafetlerinde tamamlayıcı bir ürün olarak kullanılır. Yeni doğan bebeklere, sünnet olan çocuklara, askere gidecek delikanlılara, taziyeye gelen misafirlere, yeni evlenen çiftlere ve bayramlaşmaya gelenlere mendil hediye edilir. Türk kültüründe mendile yüklenen mana oldukça fazladır.

APA, Harvard, Vancouver, ISO, and other styles

47

Hojatollah, Borzabadi Farahani, and Abasi Sara. "Metaphor of Violence and Queer Relations in Sarah Kane's Play, Cleansed: A Butlerian Gender Study." International Journal of Stress Management (IJSM) 31, no. 4 (2024). https://doi.org/10.5281/zenodo.14598305.

Full text

Abstract:

The present study attempts to provide an analytic exploration of the concept and the traumatic impact of heterosexual violence on [gender] identity of [the] people as they are purported to be in their actions. The analysis is going to be applied on one of Sarah Kane’s master works, Cleansed, wherein its people, including all, are supervised and condemned to the surveillance of patriarchal discourse that stabilizes itself through its enforcer of ‘violence’. The study takes benefit of Judith Butler’s postmodern feminism perception of Gender and Sex Identity and Queer theo

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!