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Political Plays
Includes the plays Chips With Everything, Their Very Own and Golden City, The Journalists, Badenheim 1939 and, published here for the first time, Phoenix Phoenix, Burning Bright. Described variously as ‘a dangerous playwright, ‘a melancholy optimist’, and ‘the unique outsider in the British Theatre’, Arnold Wesker is one of Britain’s most celebrated playwrights. This latest volume in Oberon Books’ Wesker series brings together five of his political plays. It features some of his best-known works including Chips With Everything, perhaps the most celebrated of his plays, and about which Harold Hobson, writing in The Sunday Times in 1961, said ‘this is the first play of which the Establishment need be afraid.’
Strategies of Political Theatre
This volume provides a theoretical framework for some of the most important play-writing in Britain in the second half of the twentieth century. Examining representative plays by Arnold Wesker, John Arden, Trevor Griffith, Howard Barker, Howard Brenton, Edward Bond, David Hare, John McGrath and Caryl Churchill, the author analyses their respective strategies for persuading audiences of the need for a radical restructuring of society. The book begins with a discussion of the way that theatre has been used to convey a political message. Each chapter is then devoted to an exploration of the engagement of individual playwrights with left-wing political theatre, including a detailed analysis of one of their major plays. Despite political change since the 1980s, political play-writing continues to be a significant element in contemporary play-writing, but in a very changed form.
Dangerous Matter
This book is a study of a group of plays (Neptune's Triumph, The Life of the Duchess of Suffolk, The Bondman, The Sun's Darling, and A Game at Chesse) which appeared during one theatrical season in London in 1623-1624. These plays all allude in various ways to contemporary political issues, and Dr Limon shows how it is possible to treat them as components of a propaganda campaign designed to promote the cause of a particular faction, led by Prince Charles and the Duke of Buckingham, in the court of James I. The campaign opposed James' peaceful initiatives, which included an attempt to marry Charles to the Spanish Infanta. It was a period of severe censorship, and the playwrights engaged in the campaign had to be careful on the one hand to obtain the censor's licence (plays were often suppressed as 'dangerous matter') and on the other to convey appropriate political messages. The book demonstrates how this was managed, and proceeds to investigate the relationship between literature, politics and censorship in general.
Julia Pascal: Political Plays
Sex, political violence in Stockholm, Tel Aviv and Paris. Political murder in suburban London. Death, love and homicide in New York. War in the belly of a whale. These are the themes in Julia Pascal's latest collection which takes place in London in 1946, Europe in 1982, Manhattan today and in a whale at anytime. Honeypot: Ten years after the massacres at the Munich Olympics, Susanne joins Mossad as a secret agent. This beautiful Swedish woman is at the heart of a struggle between desire and destruction, between love and infidelity, between motherhood and freedom. Between Arab and Jew. Broken English: An exploration of a secret history that happened in London just after the end of the war. W...
A State of Play
How has British democracy been represented in novels, plays and films in a century of political turbulence? Steven Fielding offers the first book length study of the fictionalisation of British politics during the rise, consolidation and apparent fall of party politics.
The Contemporary Political Play
What does it mean for a play to be political in the 21st century? Does it require explicit engagement with events and situations with the aim of bringing about change or highlighting social wrongs? Is it purely a matter of content or is it also a matter of structure? This text examines the politics of contemporary 'political' drama. It traces the origins of the contemporary British political play to the emergence of the idea of 'serious drama' in the late 19th century through the work of Bernard Shaw, and argues that a Shavian version of serious drama was inextricably linked to the social and political structures of British society at the time
Theatre and Government Under the Early Stuarts
This collection of commissioned essays by established scholars, responds to critical debate on political theatre of the turbulent early years of the seventeenth century. Theatre is widely interpreted. The authors discuss censorship, the social implications of pageantry, Reformation ideals, popular theatre and the politics of the masque throughout the period. An early chapter discusses political theatre in the light of work by revisionist and post-revisionist historians. The drama of Jonson, Dekker, Middleton, Massinger, Chapman, Heywood and Rowley is given detailed attention, while Shakespeare's plays are considered in the introductory chapter.
Cool Britannia?
Cool Britannia? is a readable introduction to the variety of evolving and often contradictory styles of political drama that emerged in the 1990s. Drawing on both new research and existing studies, established playwrights and younger writers, it creates a broad critical framework for approaching the drama of this period. It explores a wide variety of key issues, including: the impact of capitalism and globalization; cultural politics and issues of nationhood; questions and constructions of race and gender.
