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Relevant bibliographies by topics / John McGrath

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Academic literature on the topic 'John McGrath'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "John McGrath"

1

Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

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McGrath, John. "Dr. John McGrath." Nishi Nihon Hifuka 81, no. 5 (October 1, 2019): 427–28. http://dx.doi.org/10.2336/nishinihonhifu.81.427.

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Holdsworth, Nadine. "Remembering John McGrath." Contemporary Theatre Review 13, no. 1 (February 2003): 111–14. http://dx.doi.org/10.1080/1048680031000077843.

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Lacey, Stephen. "‘Blood Red Roses’: John McGrath and Lukácsian Realism." New Theatre Quarterly 18, no. 4 (November 2002): 325–33. http://dx.doi.org/10.1017/s0266464x0200043x.

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John McGrath spurned the easy road to television fame that seemed open to him early in his career, but remained concerned throughout his life to develop the creative potential of the medium, and to exploit what made it distinctive from the forms of film and theatre in which he was also engaged. Unlike many of his contemporaries, McGrath's work was thus underpinned by a strong sense of the differing qualities of the performing media, and nowhere is this more evident than in Blood Red Roses, which began its life as a stage play for 7:84 Scotland in 1980, was adapted into a three-part television serial for Channel 4 in 1985, and re-edited for the version directed by McGrath for Freeway Films. In exploring the differing sensibilities and structures of the different versions, Stephen Lacey draws on ideas – notably the concept of realism – as formulated by George Lukács largely in relation to yet another genre, that of the novel, in which he often found himself in conflict with the ideas of Bertolt Brecht. Stephen Lacey is Principal Lecturer in the Department of Contemporary Arts at Manchester Metropolitan University, and co-director of a major AHRB-funded research project, ‘Cultures of British TV Drama: 1960–82’.

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Mackenney, Linda. "The Oppositional Theatre of McGrath and MacLennan in Scotland, 1989–96." New Theatre Quarterly 30, no. 4 (October 21, 2014): 352–64. http://dx.doi.org/10.1017/s0266464x14000694.

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In this article, Linda Mackenney explores the four epic plays John McGrath wrote between 1989 and 1996 in the aftermath of his forced resignation from 7:84 Scotland in 1988. These were produced in association with David MacLennan of Wildcat Stage Productions and televised by McGrath's Freeway Films for Channel Four in the 1990s. McGrath died of leukaemia in 2002, and MacLennan died earlier this year after a battle with motor neurone disease; but the work they did together in the 1990s forms a significant part of their legacy. Linda Mackenney was introduced to McGrath's work as a student, when she attended the lectures at the University of Cambridge which were later published as his seminal critical work, A Good Night Out: Popular Theatre: Audience, Class, and Form. She carried out the research for 7:84 Scotland's Clydebuilt Season in 1982, was the creator of the Scottish Theatre Archive at Glasgow University Library, and is the author of The Activities of Popular Dramatists and Drama Groups in Scotland, 1900–1952 (Edwin Mellen Press, 2000). She was a member of the 7:84 Scotland Board of Directors between 1983 and 1988 and is currently completing a study of John McGrath's theatre writings.

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McGrath, John. "Popular Theatre and the Changing Perspective of the Eighties." New Theatre Quarterly 1, no. 4 (November 1985): 390–99. http://dx.doi.org/10.1017/s0266464x00001810.

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John McGrath is one of those few writers who, having begun his career in a success-fully orthodox manner, came to prefer working through ‘alternative’ channels – notably, in his formation and continuing work with the two 7:84 Companies, England and Scotland, their names reflecting the persistent fact that 84 per cent of the nation's wealth is owned by seven per cent of the population. Thus, McGrath's early work as one of the creators of the vintage TV series Z Cars, and his major ‘commercial’ success with the film version of his play Events while Guarding the Bofors Gun, has been succeeded by numerous plays and productions less familiar to conventional audiences, but which have made an enormous and often stirring impact in touring venues (frequently of a less expected kind) both north and south of the border. The full range of his work is charted in the ‘NTQ Checklist’ which follows this interview, and its development through to the mid– 'seventies was discussed in the earlier interview with McGrath in TQ19. reprinted in New Theatre Voices of the Seventies, edited by Simon Trussler (Methuen, 1981). Here, Tony Mitchell talks with John McGrath about some of his more recent work, and discusses his views on the nature of popular theatre, as set out in his important study of the subject, A Good Night Out (Methuen, 1981).

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Page, Malcolm. "NTQ Checklist No. 1: John McGrath." New Theatre Quarterly 1, no. 4 (November 1985): 400–416. http://dx.doi.org/10.1017/s0266464x00001822.

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A series of nearly two dozen ‘Theatre Checklists’ appeared as supplements to the old series of Theatre Quarterly, recording biographical, performance, and bibliographical information in accessible form about a wide range of mainly living playwrights. The format was subsequently extended by Simon Trussler for the ‘Writers on File’ series he now edits for Methuen London, of which the first six titles have recently appeared. However, it was felt that the former style of checklist would still provide a valuable source of information for writers not scheduled for early inclusion in the new series, expecially when this complemented other forms of documentation in the journal: and this first ‘NTQ Checklist’ on the work of John McGrath thus appears alongside Tony Mitchell's interview with the playwright. Its compiler, Malcolm Page, teaches in the English Department of Simon Fraser University, British Columbia. Besides contributing several of the earlier series of ‘Theatre Checklists’. Malcolm Page has published widely in the field of modern British drama: his study of John Arden appeared last year from Twayne, and his volume on Arden was among the first of the ‘Writers on File’ from Methuen.

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Amos, Andrew. "Interview with Prof John McGrath regarding research." Australasian Psychiatry 23, no. 1 (January 22, 2015): 6–7. http://dx.doi.org/10.1177/1039856214562123a.

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Office, Editorial. "Book Reviews." Verbum et Ecclesia 22, no. 2 (August 11, 2001): 478–82. http://dx.doi.org/10.4102/ve.v22i2.667.

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Braaten, C E & Jenson, R W, 2000. Sin, death and the devil. Grand Rapids: Eerdmans. Prys: Onbekend. Michael Green, The Message of Matthew. Intervarsity Press, Leicester, 343 pp. Price £9.99. Francisco Lozada (Jr.), A literary reading of John 5. Text as construction. Peter Lang: New York, 138 pp. Price unknown. McGrath A & Packer JI (series eds), Thomas Manton, Jude 1999 [1675] 223 pp. John Calvin, 1 & 2 Timothy & Titus 1998 [1556] 208pp. John Owen, Hebrews 1998 [1680?] 269pp. The Crossway Classic Commentaries.

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Mitchell, Adrian. "Preaching the Enjoyable Revolution." New Theatre Quarterly 18, no. 4 (November 2002): 299–300. http://dx.doi.org/10.1017/s0266464x02000386.

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Socialism is alive. Theatre is alive. Socialist theatre is alive. And, in every sense except the literal one, John McGrath, whose body gave up a long, brave fight against illness in January this year, is alive and kicking – Liberal and Tory arses for choice.

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Dissertations / Theses on the topic "John McGrath"

1

Kwon, Kyoung-Hee. "John McGrath and the social politics of the late twentieth century." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366616.

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Mafuta, Willy L. "Soteriology of the Bantu in the thought of John Hick." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Smith, James Benjamin. "The influence of Bertolt Brecht on British drama : an account of his reception, with case studies of John Arden and John McGrath." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613279.

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Cameron, Nicholas W. "Reclaimed territory : the plays of John McGrath and the 7:84 theatre company considered as a continuum of twentieth-century theories concerning theatrical form." Doctoral thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/15983.

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Bibliography: pages 617-630.
This dissertation proposes to examine the work of John McGrath and the 7:84 Theatre Company as part of a continuum of theatrical experimentation culminating in postmodernism. To clarify the relationship between aesthetic form and social praxis the inquiry proceeds in two salient lines of direction: the first tracing the withdrawal from "realism" of major theorists of modernist ideology, the second defining the political and social milieu which provided the matrix for the development and staging of McGrath's plays. Recognising the partisan disposition of the 7:84 Theatre Company, the focus is on not only the division between political commitment and aesthetic experimentation, but also their potential for conciliation. At stake here is the socio-political nature of dramatic form itself and the contradictions implicit in political theatre's inherent structure. Tested against actual modes of procedure in the staging of McGrath's plays, and against the plays themselves, are the modernist propositions on aesthetics and politics argued within the context of German Marxism by Bloch, Lukacs, Benjamin, Adorno, and Brecht. The inquiry into problematising representational modes is then extended to include the postmodernist resistance to both realism and modernism, seeking precisely where and how McGrath's theatre supports this opposition. Following a critical dissection of representative texts, the conclusion attempts to establish their validity as postmodernist art, wordlessly disclosing within the parameters of their own language structure what cannot be asserted effectively by the practice of politics itself.

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Simard, Jean-Pierre. "Ethique et esthétique dans le théâtre de John Mc Grath (1958-1991) : sa contribution à la culture populaire contemporaine en Grande-Bretagne." Metz, 1994. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1994/Simard.Jean_Pierre.LMZ943_1.pdf.

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La présente thèse examine l'activité théâtrale de John Mc Grath, comme auteur, metteur en scène et théoricien, entre 1958 et 1991. Elle évalue la dimension éthique de l'intervention de l'auteur et les implications esthétiques de sa volonté de communiquer avec un public populaire. Elle interroge nécessairement la validité de concepts tels que : théâtre politique, théâtre parallèle ou "Fringe", "Ceilidh-plays", théâtre interventionniste, théâtre carnavalesque. Elle situe l'œuvre dans un héritage national et international. Un regard contemporain s'attachera inévitablement a apprécier la validité et l'évolution de deux outils privilégiés lors de l'examen de l'activité de l'auteur : la sociologie et la sémiologie. Les questions du modernisme et du post-modernisme, de l'éphémère et de la postérité, de la distanciation et de l'identification, de l'université et de la contextualité surgissent inévitablement dans une étude dont l'objet central est celui du processus de création et de communication, du texte écrit au spectacle, avec un public habituellement éloigné des théâtres officiels. Epique, l'art de l'écriture et de la représentation propre à John Mc Grath s'enracine dans les cultures régionales, à Liverpool et dans les bassins industriels du nord de l’Angleterre, avant de refléter la diversité des traditions populaires Ecossaises. Novateur dans le dessin des contours esthétiques d'une contribution théâtrale au mouvement des sociétés contemporaines, John Mc Grath nous permet d'envisager la survie de son œuvre et de celle des courants théâtraux qui fondent leur action sur la place centrale de l'histoire
The current thesis examines John Mc Grath's theatrical activities as a playwright, as a director or as a theoretician, between 1958 and 1991. It estimates the etthical dimension of the intervention of the playwright, and the aesthetical implications of his wish to communicate with popular audiences. It inevitably questions the value of such concepts as : political theatre, parallel or fringe theatre, "Ceilidh-plays", interventionist theatre, carnival theatre. It situates John Mc Grath's works within national and international heritages. A contemporary bias will inevitably try and appreciate the validity and developments of two tools, privileged in the study of the activities of the playwright: sociology and semiotics. The questions of modernism and post-modernism, of short-lived and lasting works, of distanciation and identification, of universality and contextualisation inevitably arise out of a study whose key object is the process of creating and communicating, from writing to staging, with audiences who have usually been enstranged from official theatres. Epic, John Mc Grath's specific art of writing and staging has first been rooted in the regional cultures of liverpool and the industrial areas in the north of england, before reflecting the diversity of the popular traditions in scotland. Innovating in designing the aesthetical shapes of a theatrical contribution to the moves of contemporary societies, john mc grath allows us to consider the survival of his works and of those theatrical trends which ground their activity on the key place granted to history

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Books on the topic "John McGrath"

1

McGrath, John F. THE PERSONAL WAR DIARY OF LIEUT. JOHN F. MCGRATH. Hubbardston, MA: Cellar Systems, 2003.

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2

Harper, Jan. Plaster and paint: John Colquhoun, orthopaedic surgeon and his patient, Joyce McGrath, portrait painter. North Melbourne: Arcadia, 2007.

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3

Steer, Roger. Guarding the holy fire: The evangelicalism of John R.W. Stott, J.I. Packer, and Alister McGrath. Grand Rapids, Mich: Baker Books, 1999.

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4

Frauengestalten und Frauenthemen bei John Arden und Margaretta D'Arcy: Mit Vergleichskapiteln zu Ann Jellicoe, Arnold Wesker, John McGrath und Caryl Churchill. Frankfurt am Main: P. Lang, 1996.

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5

John McGrath und die 7:84 Company Scotland: Politik, Popularität und Regionalismus im Theater der siebziger Jahre in Schottland. Amsterdam: B.R. Grüner, 1986.

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6

John McGraw. Lincoln: University of Nebraska Press, 1995.

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John McGraw. New York, N.Y., U.S.A: Viking, 1988.

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John McGraw. New York, N.Y., U.S.A: Penguin Books, 1989.

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Tocher, Timothy. Chief Sunrise, John McGraw, and me. Chicago: Cricket Books, 2004.

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The old ball game: How John McGraw, Christy Mathewson, and the New York Giants created modern baseball. New York: Grove Press, 2005.

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Book chapters on the topic "John McGrath"

1

Aßbeck, Johann. "McGrath, John." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14303-1.

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Schuh, Christian, Michael F. Strohmer, Stephen Easton, Armin Scharlach, and Peter Scharbert. "Enter John McGrath." In The CPO, 66–69. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-4963-4_13.

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Itzin, Catherine. "John McGrath and 7:84 Theatre Company." In Stages in the Revolution, 119–28. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-16.

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Aßbeck, Johann. "McGrath, John: The Cheviot, the Stag and the Black Black Oil." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14304-1.

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Simard, Jean-Pierre. "Watching for Dolphins by John McGrath: The Single Voicing of a Multiple Voice Performance." In Drama on Drama, 171–83. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-25443-9_11.

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"JOHN MCGRATH." In Twentieth Century Theatre: A Sourcebook, 227–31. Routledge, 2002. http://dx.doi.org/10.4324/9780203214671-62.

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"The Theory and Practice of Political Theatre (John McGrath)." In The Routledge Drama Anthology and Sourcebook, 657–74. Routledge, 2012. http://dx.doi.org/10.4324/9780203124406-56.

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"Consolidation in the 1970s The popular political theatre of John McGrath." In The Politics of Performance, 144–79. Routledge, 2002. http://dx.doi.org/10.4324/9780203412282-9.

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"The Cheviot, the Stag and the Black, Black Oil (John McGrath)." In The Routledge Drama Anthology and Sourcebook, 584–608. Routledge, 2012. http://dx.doi.org/10.4324/9780203124406-51.

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10

BLAU, CLIFFORD. "John McGraw Comes to New York:." In SABR 50 at 50, 274–85. Nebraska, 2020. http://dx.doi.org/10.2307/j.ctv13qfv6d.32.

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