Strategies of Political Theatre
Post-War British Playwrights
Series: Cambridge Studies in Modern Theatre;
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Product details:
- Publisher Cambridge University Press
- Date of Publication 22 May 2003
- ISBN 9780521258555
- Binding Hardback
- No. of pages252 pages
- Size 237x162x23 mm
- Weight 547 g
- Language English 0
Categories
Short description:
Provides theoretical framework for important play-writing in Britain in the second half of the twentieth century.
MoreLong description:
This volume provides a theoretical framework for some of the most important play-writing in Britain in the second half of the twentieth century. Examining representative plays by Arnold Wesker, John Arden, Trevor Griffith, Howard Barker, Howard Brenton, Edward Bond, David Hare, John McGrath and Caryl Churchill, the author analyses their respective strategies for persuading audiences of the need for a radical restructuring of society. The book begins with a discussion of the way that theatre has been used to convey a political message. Each chapter is then devoted to an exploration of the engagement of individual playwrights with left-wing political theatre, including a detailed analysis of one of their major plays. Despite political change since the 1980s, political play-writing continues to be a significant element in contemporary play-writing, but in a very changed form.
'... an authoritative and challenging addition to the woefully short list of scholarly books on some of our best neglected dramatic assets.' Theatre Notebook
Table of Contents:
Acknowledgements; Brief chronology, 1953-1989; Introduction; Part I. Theory: 1. Strategies of political theatre: a theoretical overview; Part II. Two Model Strategies: 2. The 'reflectionist' strategy: 'kitchen sink' realism in Arnold Wesker's Roots (1959); 3. The 'interventionist' strategy: poetic politics in John Arden's Serjeant Musgrave's Dance (1959); Part III. The Reflectionist Strain: 4. The dialectics of comedy: Trevor Griffiths's Comedians (1975); 5. Appropriating middle-class comedy: Howard Barker's Stripwell (1975); 6. Staging the future: Howard Brenton's The Churchill Play (1974); Part IV. The Interventionist Strain: 7. Agit-prop revisited: John McGrath's The Cheviot, the Stag, and the Black, Black Oil (1973); 8. Brecht revisited: David Hare's Fanshen (1975); 9. Rewriting Shakespeare: Edward Bond's Lear (1971); 10. The strategy of play: Caryl Churchill's Cloud Nine (1979); Conclusion; Notes; Select bibliography; Index.
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