By Mary Luckhurst
This wide-ranging significant other to fashionable British and Irish Drama bargains not easy analyses of quite a number performs of their political contexts. It explores the cultural, social, fiscal and institutional agendas that readers have to interact with with the intention to take pleasure in smooth theatre in all its complexity.An authoritative advisor to trendy British and Irish drama.Engages with theoretical discourses not easy a canon that has privileged London in addition to white English men and realism.Topics coated contain: nationwide, nearby and fringe theatres; post-colonial phases and multiculturalism; feminist and queer theatres; intercourse and consumerism; expertise and globalisation; representations of struggle, 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
It is a commonplace of criticism that Murphy is an angry navigator of the great binary of ‘individual versus society’. Richard Kearney accurately presents Murphy as an iconoclast of ‘the consumerist Irish bourgeoisie who resent any deviant flight of creativity, force many of their artists into exile, and . . 17 However, Kearney queries the radical potential of what he reads as an ‘angry, at times apocalyptic attitude to contemporary Irish society’ in Murphy’s work (Kearney 1988: 170). : 170). Such critical practice centres the ‘tragedy’ of John Connor as the dramatic focus of Famine, even though epic form inaugurates spatial and temporal conventions which critique and position tragedy itself as an ideological construct.
When utopian allegory and rational consciousness met, the encounter was mediated in and through performance, producing the kind of remarkable effects witnessed by Gregory. Thus, performance practice intervenes to create unpredictable excesses of meaning, fundamentally affecting the significance of the artefact and its potential impact on individual and public consciousness. Imperialism produces lived experiences which are psychically injurious (Moane 2002: 109–23), and gives rise to needs for recuperative strategies in the consciousness of both dominated and subordinated.
In the theatre or the music hall. : 78) Broadbent’s falling for an Irish grotesque, simultaneously endearing and degraded, illustrates Bhabha’s account of the double effect of racial stereotype. : 70). Performativity is central to imperial relations, and in its multiplying confusions around power, identity, nation and empire, John Bull’s Other Island enacts the contradictions embedded in ideas of Britain and Ireland, and aspirations arising from them, as Ireland anticipated the achievement of national autonomy within the empire.