By Mary Luckhurst
This wide-ranging spouse to fashionable British and Irish Drama bargains difficult analyses of a variety of performs of their political contexts. It explores the cultural, social, monetary and institutional agendas that readers have to interact with with a view to have fun with smooth theatre in all its complexity.An authoritative advisor to trendy British and Irish drama.Engages with theoretical discourses difficult a canon that has privileged London in addition to white English men and realism.Topics lined comprise: nationwide, neighborhood and fringe theatres; post-colonial levels and multiculturalism; feminist and queer theatres; intercourse and consumerism; expertise and globalisation; representations of battle, terrorism, and trauma.
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Additional resources for Companion to Modern British and Irish Drama: 1880 to the Present (Blackwell Companions to Literature and Culture)
17 However, Kearney queries the radical potential of what he reads as an ‘angry, at times apocalyptic attitude to contemporary Irish society’ in Murphy’s work (Kearney 1988: 170). : 170). Such critical practice centres the ‘tragedy’ of John Connor as the dramatic focus of Famine, even though epic form inaugurates spatial and temporal conventions which critique and position tragedy itself as an ideological construct. This suppresses the actual cultural significance of Famine, which dramatizes individuals and collectivities as socially produced relations in dynamic dialogue with each other.
19 Collective living is the goal here, writ small in narratives of human intimacy, and large in the dramas of public events which occur in the same dramatic space as parallel dramatic worlds interact. The real contest, as the vicious argument between Mickeleen O’Leary and Fr Horan demonstrates (Murphy 1984: 28–30), is not between an isolated individual and a malevolent collective, but between competing social models, between opposing visions of collective living. Where John Connor is the focus of critical attention, the dramatic importance of Maeve’s emergence from awful years of hunger to contemplate the possibility of a future is read as a commitment to ‘redemption’, cited as characteristic of Murphy’s work.
London and New York: Penguin. Synge, J. M. (1995). ). The Playboy of the Western World and Other Plays. Oxford: Oxford University Press, 96–7. Yeats, W. B. (1991). Cathleen ni Houlihan in A. ). W. B. Yeats: Selected Plays. Dublin: Gill and Macmillan, 2–13. Yeats, W. B. (2000). ). W. B. Yeats: Poems Selected by Seamus Heaney. London: Faber, 60–2, 122, 130. Further reading Amkpa, Awam (2004). Theatre and Postcolonial Desires. London and New York: Routledge. Bennett, Susan (1992). Theatre Audiences: A Theory of Production and Reception.
Companion to Modern British and Irish Drama: 1880 to the Present (Blackwell Companions to Literature and Culture) by Mary Luckhurst