Titlebook: Howard Barker: Ecstasy and Death; An Expository Study David Ian Rabey Book 2009 Palgrave Macmillan, a division of Macmillan Publishers Lim

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confederacy

‘The ecstasy of vanishing meaning’practice, developing the articulation of his belief that ‘in a society of increasingly restricted options … a creative mind owes it to his fellow human beings to stretch himself and them, to give others the right to be amazed, the right even to be taken to the limits of tolerance and to strain and test morality at source’ (., 37).

Ingrained

Infinite Reversibilitywork in this chapter correspondingly reflects Barker’s embodying of ‘Alternatives’, repudiations of the dominant terms of life – sometimes jointly undertaken by two parties, but frequently involving an ultimate tragic isolation; however, even this may have wider imaginative resonances for those (others) who may perceive and consider its terms.

Terminal

Wrestling with God the degree to which the configurations of social power may, or may not, reflect a divine authority (as Barker observes the ‘twin poles’, the terms and forms, of ‘realism’ in his work are ‘coercion and decay’; ‘Between these absolutes, men and women struggle to find love and meaning’.).

構(gòu)成

接觸

ely stylish work brings together startlingly original forms of classical discipline, moral ruthlessness and catastrophic eroticism. This study considers the full range of his theatrical achievements.978-1-349-54436-3978-0-230-58203-3

迷住

Gifts of Loss: An Introduction to Barker’s Writing and Theatre international recognition and esteem as a major artistic thinker and practitioner. It follows on from my 1989 publication, ., and considers Barker’s work from 1988 to 2008, including his emergence as a major director and aspects of productions by The Wrestling School (if circumstances permit, I wil

Enervate

Intimacy with the UnforgivableThe RSC rejected the play they had commissioned, ., when Barker submitted it in 1987; they did however stage . in 1988, Barker’s most ambitious play up to that time; this had been commissioned by The Royal Court and written 1985–6, but the Court would not proceed to a full staging. The artistic lead

Badger

Morphine

Servility and Servitudethose who would tear down everything to a facelessness to match their own. Lingis, following Nietzsche, offers a useful exposition: servility is characterized by dependence: on one’s fellows, the institutions, and the technological equipment in place; whereas nobility ‘realizes traits, behaviours an