Modern British Drama: The Twentieth CenturyCambridge University Press, 28.11.2002 - 572 Seiten A revised and updated version of Modern British Drama, 1890-1990, is the first one-volume analysis of English playwriting over the twentieth century. Through detailed discussions of major dramatists and plays, Christopher Innes traces the evolution of modernism from Bernard Shaw to the present as well as theatrical developments over the period. The text includes information on the social and political environment surrounding the plays, first productions and critical reception, and chronology and illustrations from key performances, lists of playwrights and works, and selective bibliographies. It is an invaluable guide for students, theater-goers and theater historians. |
Inhalt
Contexts | 1 |
11 Defining British drama | 4 |
12 Patterns of development and organizing principles | 7 |
13 Critical treatment | 11 |
Defining modernism George Bernard Shaw | 13 |
21 The reinterpretation of Ibsen | 14 |
22 Refurbishing nineteenthcentury styles | 22 |
23 Thesis drama and metaphysical comedy | 33 |
comedy as social image | 262 |
society as Farce | 285 |
Farce as confrontation | 293 |
interior space and play as image | 306 |
power plays and the trap of comedy | 328 |
the politics of comedy | 350 |
Alan Ayckbourn and Michael Frayn | 370 |
theatricality and the comedy of ideas | 393 |
24 Symbolism and politics | 39 |
Social themes and realistic modes | 55 |
GranvilleBarker and John Galsworthy | 60 |
DH Lawrence and the Workers Theatre Movement | 69 |
updating the WellMade Play | 76 |
the rhetoric of social alienation | 86 |
utopian realism | 103 |
Epic stagecraft and British equivalents | 113 |
the popular tradition and Epic alternatives | 132 |
rationalism realism and radical solutions | 152 |
from Agitprop to Social Realism | 178 |
utopian perspectives on modern history | 196 |
312 The feminist alternative | 233 |
The comic mirror tradition and innovation | 250 |
popular comedy versus social criticism | 253 |
Patrick Marber | 427 |
Poetic drama verse fantasy and symbolic images | 436 |
JM Barrie | 438 |
temporal dislocation and transcendence | 442 |
WH Auden and Christopher Isherwood | 455 |
the drama of conversion | 461 |
Christopher Fry and Peter Shaffer | 477 |
John Whiting David Rudkin and Howard Barker | 495 |
from the psychology of feminism to the Surreal | 512 |
the poetry of madness in violent dreams | 528 |
devising a physical theatre | 537 |
| 544 | |
| 553 | |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
action actors Agitprop Arden artistic audience Ayckbourn Back in Anger Barnes Beckett becomes Bond Bond's Brecht's Brechtian Brenton British century characters cliché comedy comic contemporary context contrast conventional Coward David Hare death dialogue drama dramatists earlier plays echoes Edgar Edward Bond effect Eliot emotional English explicitly farce female figures final focus Granville-Barker Hare Heartbreak House Howard Brenton human Ibid ideal intellectual Invention of Love J.B. Priestley living London MAJOR PLAYS Maugham modern moral murder National Theatre naturalistic Noel Coward Orton Osborne Osborne's parallels performance perspective physical Pinter play's playwrights poetic political presented Priestley production protagonist Racing Demon Rattigan's reality rejection represents response role Royal Court scene Serjeant Musgrave's Dance sexual Shaw Shaw's social society spectators stage Stoppard structure symbolic T.S. Eliot Theatre de Complicité theatrical theme traditional Travers turns typical violence vision Waiting for Godot Wesker wife woman women