By Mary Luckhurst
This wide-ranging spouse to trendy British and Irish Drama deals hard analyses of a number performs of their political contexts. It explores the cultural, social, monetary and institutional agendas that readers have to interact with on the way to take pleasure in glossy theatre in all its complexity.
- An authoritative advisor to fashionable British and Irish drama.
- Engages with theoretical discourses difficult a canon that has privileged London in addition to white English men and realism.
- Topics lined contain: nationwide, nearby and fringe theatres; post-colonial phases and multiculturalism; feminist and queer theatres; intercourse and consumerism; expertise and globalisation; representations of conflict, 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) [Hardcover]  (Author) Mary Luckhurst
The phrase ‘if appropriate, elsewhere in the United Kingdom’ could only have betokened some sort of home-rule government in England. Perhaps in the fullness of time Bernard Shaw and Oscar Wilde will have their wish after all. There are signs that the British Council has already read the runes. Once fabled for its willingness to underwrite trips by visiting Irish or reggae authors under the wide umbrella of an inclusive Britishness, it has in recent years shown signs of a return to events featuring the great English tradition of Shakespeare, Milton, Blake and Shelley, safe in the knowledge that Irish or West Indian writers, or the promotion of ‘cultural studies’, can be safely entrusted to the literature departments of the nearest local university.
Which harmonises with the traditions and responds to the aspirations of the Irish people . . and regret that they should have based their conclusions on the existence of an organisation designed to serve other purposes’’ ’ (Lee 1990: 197). 6 See my discussion of the film Mise E´ire (1959) in Merriman (2004). 7 See Lionel Pilkington (2005). ‘Historicizing is Not Enough: Recent Developments in Irish Theatre History’, Modern Drama 47:4, 729. 8 ‘This conflict of pleasure/unpleasure, mastery/ defence, knowledge/disavowal, absence/presence, has a fundamental significance for colonial discourse’ (Homi K.
So it had no option but to look back in a kind of muffled anger on the rhetoric of a diminished empire. One of the major themes of John Osborne’s autobiography, A Better Class of Person, is in fact the sheer impossibility of recovering a personal or national past. England, allegedly underwritten by centuries of tradition, is depicted as a geriatric in the grip of a terminal amnesia. The famous challenge posed by E. M. ’ Forster had suggested that the betting would be 8–1 against and, true enough, the young Osborne never could find out who his ancestors were or what they did.