دانلود کتاب A Companion to Modern British and Irish Drama 1880-2005

This wide-ranging Companion to Modern British and Irish Drama offers challenging analyses of a range of plays in their political contexts. It explores the cultural, social, economic and institutional agendas that readers need to engage with in order to appreciate modern theatre in all its complexity.An authoritative guide to modern British and Irish drama. Engages with theoretical discourses challenging a canon that has privileged London as well as white English males and realism. Topics covered include: national, regional and fringe theatres; post-colonial stages and multiculturalism; feminist and queer theatres; sex and consumerism; technology and globalisation; representations of war, terrorism, and trauma. Content: Chapter 1 Domestic and Imperial Politics in Britain and Ireland: The Testimony of Irish Theatre (pages 7–21): Victor MerrimanChapter 2 Reinventing England (pages 22–34): Declan KiberdChapter 3 Ibsen in the English Theatre in the Fin De Siecle (pages 35–47): Katherine NeweyChapter 4 New Woman Drama (pages 48–60): Sally LedgerChapter 5 Shaw Among the Artists (pages 63–74): Jan McDonaldChapter 6 Granville Barker and the Court Dramatists (pages 75–86): Cary M. MazerChapter 7 Gregory, Yeats and Ireland'S Abbey Theatre (pages 87–98): Mary TrotterChapter 8 Suffrage Theatre: Community Activism and Political Commitment (pages 99–109): Susan CarlsonChapter 9 Unlocking Synge Today (pages 110–124): Christopher MurrayChapter 10 Sean O'Casey's Powerful Fireworks (pages 125–137): Jean ChothiaChapter 11 Auden and Eliot: Theatres of the Thirties (pages 138–150): Robin GroveChapter 12 Empire and Class in the Theatre of John Arden and Margaretta D'Arcy (pages 153–163): Mary BrewerChapter 13 When Was the Golden Age? Narratives of Loss and Decline: John Osborne, Arnold Wesker and Rodney Ackland (pages 164–174): Stephen LaceyChapter 14 A Commercial Success: Women Playwrights in the 1950S (pages 175–187): Susan BennettChapter 15 Home Thoughts from Abroad: Mustapha Matura (pages 188–197): D. Keith PeacockChapter 16 The Remains of the British Empire: the Plays of Winsome Pinnock (pages 198–209): Gabriele GriffinChapter 17 Wilde's Comedies (pages 213–224): Richard Allen CaveChapter 18 Always Acting: Noel Coward and the Performing Self (pages 225–236): Frances GrayChapter 19 Beckett'S Divine Comedy (pages 237–246): Katharine WorthChapter 20 Form and Ethics in the Comedies of Brendan Behan (pages 247–257): John BranniganChapter 21 Joe Orton: Anger, Artifice and Absurdity (pages 258–268): David HigginsChapter 22 Alan Ayckbourn: Experiments in Comedy (pages 269–278): Alexander LeggattChapter 23 'They Both Add up to Me': the Logic of Tom Stoppard'S Dialogic Comedy (pages 279–288): Paul DelaneyChapter 24 Stewart Parker's Comedy of Terrors (pages 289–298): Anthony RocheChapter 25 Awounded Stage: Drama and World War I (pages 301–315): Mary LuckhurstChapter 26 Staging ‘The Holocaust’ in England (pages 316–328): John LennardChapter 27 Troubling Perspectives: Northern Ireland, the ‘Troubles’ and Drama (pages 329–340): Helen LojekChapter 28 On War: Charles Wood's Military Conscience (pages 341–357): Dawn Fowler and John LennardChapter 29 Torture in the Plays of Harold Pinter (pages 358–370): Mary LuckhurstChapter 30 Sarah Kane: from Terror to Trauma (pages 371–382): Steve WatersChapter 31 Theatre Since 1968 (pages 385–397): David PattieChapter 32 Lesbian and Gay Theatre: All Queer On the West End Front (pages 398–408): John DeeneyChapter 33 Edward Bond: Maker of Myths (pages 409–418): Michael PattersonChapter 34 John Mcgrath and Popular Political Theatre (pages 419–428): Maria DiCenzoChapter 35 David Hare and Political Playwriting: Between the Third Way and the Permanent Way (pages 429–440): John DeeneyChapter 36 Left in Front: David Edgar's Political Theatre (pages 441–453): John BullChapter 37 Liz Lochhead: Writer and Re?Writer: Stories, Ancient and Modern (pages 454–465): Jan McDonaldChapter 38 ‘Spirits That Have Become Mean and Broken’: Tom Murphy and the ‘Famine’ of Modern Ireland (pages 466–475): Shaun RichardsChapter 39 Caryl Churchill: Feeling Global (pages 476–487): Elin DiamondChapter 40 Howard Barker and the Theatre of Catastrophe (pages 488–498): Chris MegsonChapter 41 Reading History in the Plays of Brian Friel (pages 499–508): Lionel PilkingtonChapter 42 Marina Carr: Violence and Destruction: Language, Space and Landscape (pages 509–518): Cathy LeeneyChapter 43 Scrubbing up Nice? Tony Harrison's Stagings of the Past (pages 519–529): Richard RowlandChapter 44 The Question of Multiculturalism: the Plays of Roy Williams (pages 530–540): D. Keith PeacockChapter 45 Ed Thomas: Jazz Pictures in the Gaps of Language (pages 541–550): David Ian RabeyChapter 46 Theatre and Technology (pages 551–562): Andy Lavender