Companion to Modern British and Irish Drama: 1880 to the by Mary Luckhurst PDF

By Mary Luckhurst

ISBN-10: 1405122285

ISBN-13: 9781405122283

This wide-ranging significant other to fashionable British and Irish Drama deals difficult analyses of various performs of their political contexts. It explores the cultural, social, financial and institutional agendas that readers have to have interaction with for you to have fun with smooth theatre in all its complexity.An authoritative advisor to fashionable British and Irish drama.Engages with theoretical discourses hard a canon that has privileged London in addition to white English men and realism.Topics lined comprise: nationwide, local and fringe theatres; post-colonial phases and multiculturalism; feminist and queer theatres; intercourse and consumerism; know-how and globalisation; representations of battle, terrorism, and trauma.

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Extra resources for Companion to Modern British and Irish Drama: 1880 to the Present (Blackwell Companions to Literature and Culture)

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Screening the Green: Cinema Under the Celtic Tiger’ in Kirby et al. (2002: 185). 20 Victor Merriman 14 ‘Famine is clearly Brechtian in its use of projected (usually ironic) titles above each scene, its episodic structure, and, as Fintan O’Toole has argued, in its insistence on the link between material and economic conditions on the one hand, and the intimate life of the mind’ (Morash 2002: 229). 15 E´ibhlı´s nı´ Dhuibhne, ‘Milseog an tSamhraidh’, in (1997). Milseog an tSamhraidh agus Du´n na mBan trı´ thine.

Independent Ireland may well be irretrievably implicated in a new imperium, but Irish cultural production, marked by centuries of colonial and imperial experience, testifies to lessons learned, utopian desires too strong to suppress, and the capacity of critical cultural practices to perform a generative, public, role. Notes 1 Debates around Ireland’s colonial status are summarized in Eo´in Flannery (2005). ). Third Text 19:5. London: Routledge, 449–59. 2 Young Ireland Rebellion (1848); Fenian Rebellion (1867).

David Lloyd locates the challenge to audiences in the content of cultural artefacts, in the decisions made by artists as they work and rework material. Cultural workers must ‘begin to trace alternative histories, histories which may not spell success in terms of the dominant paradigm, and may even . . spell a certain kind of failure’ (Lloyd 1999: 105). ). ), drama finds a present resource from which to draw critical content. The infrequency with which Famine has been staged may have more than a little to do with its mobilization of the dynamics of colonial oppression in order to critique the inequities of contemporary Ireland.

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Companion to Modern British and Irish Drama: 1880 to the Present (Blackwell Companions to Literature and Culture) by Mary Luckhurst

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