Titlebook: British and Irish Drama since 1960; James Acheson (Senior Lecturer in English) Book 1993 Palgrave Macmillan, a division of Macmillan Publi

Forehead-Lift

Casting the Audience: Theatricality in the Stage Plays of Peter Nichols, cinema and music hall. Although beginning with plays for television, he aimed always to write for the stage.. Although music hall declined after the war (hurt by social change, television, and the rage for Bingo) it taught Nichols a good deal about theatre. And although, as he told me in 1986, many

hair-bulb

,Translations of History: Story-telling in Brian Friel’s Theatre,tempts to ‘translate’ the confused, complicated experiences of their lives into stories with shape and meaning; always in relation to the wider history which helps to form them (and into which they feed). It is an Irish history and the stories are told against a remarkably consistent Irish landscape

Infelicity

Tom Murphy: Acts of Faith in a Godless World,ionally.. The searching has taken him quickly beyond the confines of traditional Irish drama in terms of form and subject. It is possible to trace a pedigree behind some of Murphy’s earliest works: his history play, ., and his exposure of the patriarch and the mother-figure as monsters, and of the c

河流

Edward Bond: a Political Education,t down what it was really like, to describe the problem’.. He could not then . the problem. Nor, for that matter, could the English Stage Company (ESC) at the Royal Court Theatre where Bond’s instincts drew him in 1958. John Osborne’s . (1956), which did articulate the frustration of the young, had

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有惡意

,Forgiving History and Making New Worlds: Timberlake Wertenbaker’s Recent Drama,occurred? Who has authorised it? Her exploration moves beyond suggesting that dispossession is a discrete condition by positioning it within a complex web of ideology which buttresses the power of the ruling elite.. In so doing, Wertenbaker critiques the cohesiveness of the ideological apparatus whi

我就不公正

,Freedom and Form in David Hare’s Drama,any’, in 1968-71, from his collaborations and the settings of his early plays. Yet critics have recognised that explanation in terms of political commitment, both suggested and countered in the plays, only partially and too simply reflects the force and substance of the drama. Venue suggests a focus

regale

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