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Feminist Views on the English Stage
Feminist Views on the English Stage, first published in 2003, is an exciting and insightful study on drama from a feminist perspective, one that challenges an idea of the 1990s as a 'post-feminist' decade and pays attention to women's playwriting marginalized by a 'renaissance' of angry young men. Working through a generational mix of writers, from Sarah Kane, the iconoclastic 'bad girl' of the stage, to the 'canonical' Caryl Churchill, Elaine Aston charts the significant political and aesthetic changes in women's playwriting at the century's end. Aston also explores writing for the 1990s in theatre by Sarah Daniels, Bryony Lavery, Phyllis Nagy, Winsome Pinnock, Rebecca Prichard, Judy Upton and Timberlake Wertenbaker.
Played in Britain
Published in collaboration with the Victoria & Albert Musuem, Played in Britain: Modern Theatre in 100 Plays explores the best and most influential plays from 1945 to date. Fully illustrated with photos from the V&A's collections and featuring a foreword by Richard Griffiths O.B.E., the book provides a sumptuous treat for theatre-lovers. It was awarded the 2014 David Bradby Award for research by the Theatre and Performance Research Association. Opening with J. B. Priestley's classic play from 1946, An Inspector Calls, and ending with Laura Wade's examination of class privilege and moral turpitude in Posh over sixty years later, Played in Britain offers a visual history of post-war theatre on...
The Sugar Syndrome
I like the internet. I like that way of talking to people. It's honest. It's a place where people are free to say anything they like. And most of what they say is about sex. Dani's on a mission. She's just seventeen, hates her parents, skives college and prefers life in the chatrooms on-line. What she's looking for is someone who is honest and direct. Instead she finds a man twice her age, who thinks she is eleven and a boy.
The History of British Women's Writing, 1970-Present
This book maps the most active and vibrant period in the history of British women's writing. Examining changes and continuities in fiction, poetry, drama, and journalism, as well as women's engagement with a range of literary and popular genres, the essays in this volume highlight the range and diversity of women's writing since 1970.
Billy the Girl
I wish you could just like consider – consider the chance of it being an accident. 'Cos you're so sure. You're so sure that I did this awful thing. Billy is out waiting for love where she last saw it. Her mum is certain love has walked into her life again. Her sister thinks love could still be found somewhere in the house . . . but Billy herself isn't even allowed through the door. In Katie Hims's sweet, stark family elegy, love never dies, but sometimes – like Billy – it has to sleep in the caravan with Frank's ashes and a bear costume. Billy the Girl is a sharp, yet gentle, look at a fractured family dealing with a lifetime of mistrust.
Herons
"A major new voice in British theatre" (Scotsman) Set around Limehouse Cut and the Lee River in East London, Herons is the disturbing and moving story of fourteen-year-old Billy, whose life has been made a misery by his father's actions. As the teenagers that surround him on the estate step up their campaign of bullying, the play escalates to a violent climax.Commissioned by the Royal Court, Herons premiered there on 18 May 2001.
In-Yer-Face Theatre
The most controversial and newsworthy plays of British theatre are a rash of rude, vicious and provocative pieces by a brat pack of twentysomethings whose debuts startled critics and audiences with their heady mix of sex, violence and street-poetry. In-Yer-Face Theatre is the first book to study this exciting outburst of creative self-expression by what in other contexts has been called Generation X, or Thatcher's Children, the 'yoof' who grew up during the last Conservative Government. The book argues that, for example, Trainspotting, Blasted, Mojo and Shopping and F**king are much more than a collection of shock tactics - taken together, they represent a consistent critique of modern life, one which focuses on the problem of violence, the crisis of masculinity and the futility of consumerism. The book contains extensive interviews with playwrights, including Sarah Kane ( Blasted), Mark Ravenhill (Shopping and F**king), Philip Ridley (The Pitchfork Disney), Patrick Marber (Closer) and Martin McDonagh (The Beauty Queen of Leenane).
The Cambridge Companion to Modern British Women Playwrights
This Companion, first published in 2000, addresses the work of women playwrights in Britain throughout the twentieth century.
Political Theatre in Post-Thatcher Britain
The 'in-yer-face' plays of the mid-1990s announced a new generation shaped by Thatcherism and defined by antipathy to social ideals and political involvement. They have generated thoughtful and lively responses from playwrights. The resulting dialogue has brought politics to the forefront of British drama and reinvigorated British theatre.
World of Theatre 2003 Edition
Edited by Ian Herbert, President of the International Association of Theatre Critics, Secretary of the Drama Section of the Critics' Circle in London, and editor of Theatre Record, the chronicle of the British stage, and Nicole Leclercq, Archives et Musée de la Littérature, Brussels, the World of Theatre is a lavishly illustrated biennial publication providing on-the-spot and authoritative surveys of current theatrical activity from across the globe. The content of the book is as varied as the theatrical situations it describes, from magisterial round-ups by leading critics in Europe to desperate and pitiful reports from the battlefield in war-torn countries. With expanded coverage, this n...
