By Mary Luckhurst
This wide-ranging spouse to trendy British and Irish Drama deals tough analyses of a number of performs of their political contexts. It explores the cultural, social, monetary and institutional agendas that readers have to have interaction with which will have fun with sleek theatre in all its complexity.An authoritative consultant to trendy British and Irish drama.Engages with theoretical discourses not easy a canon that has privileged London in addition to white English men and realism.Topics lined comprise: nationwide, nearby and fringe theatres; post-colonial phases and multiculturalism; feminist and queer theatres; intercourse and consumerism; know-how and globalisation; representations of warfare, terrorism, and trauma.
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Additional info for Companion to Modern British and Irish Drama: 1880 to the Present (Blackwell Companions to Literature and Culture)
The old firm is selling out . . all those stocks in the old free enquiry’ (Osborne 1966: 38). For all his faults, Porter sees the English past as something to learn from. For his wife’s friends, it is something to learn about, something now museumized but scarcely the basis for a national future. Porter’s analysis of upper-class paternalism and pusillanimity is sound enough. The problem is that he has not worked the dialectic through, and so his revolt is in the end less against the imperialism of the aristocracy than against the timidity with which its members gave the empire up.
The ironic quietism of Shaw’s version enables, perhaps, a more searching reading of Friel’s approach to this primal figuration of the colonial encounter. Similarly, Larry Doyle’s ambiguous position between modernity and Ireland11 might be set against Owen in Translations (1980), and against the highly complex border-crosser, Sanbatch Daly, in The Wood of the Whispering (see Merriman 2004). Reading Sanbatch and Sadie as an ironic restaging of the English/Irish heterosexual couple has considerable potential as a challenge to critical perspectives on other reworkings of this primal figuration.
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. London and New York: Routledge. Flannery, Eo´in (2005). ). Third Text: Ireland Special Issue 19:5, 49–59. Freire, Paulo (1985). The Pedagogy of the Oppressed. London: Penguin. Grene, Nicholas (1999). The Politics of Irish Drama: Plays in Context from Boucicault to Friel.
Companion to Modern British and Irish Drama: 1880 to the Present (Blackwell Companions to Literature and Culture) by Mary Luckhurst