Energetically places modern British drama and contemporary critical
and cultural theory in dialogue, demonstrating how theory allows
fresh insights into familiar plays. Each chapter pairs a well-known
play from the post-war period with a classic theory text, the
theoretical text is not simply applied to the dramatic one:
instead, the play and the theoretical text reflect on each other in
a mutual illumination. Examples include: So Look Back in Anger is
read by and reads Lacan's Signification of the Phallus Pinter's The
Homecoming is made uncanny with Freud Stoppard's Rosencrantz and
Guildenstern are Dead finds affinities with Lyotard's The
Postmodern Condition Timberlake Wertenbaker's Our Country's Good
agrees and disagrees with Edward Said Sarah Kane's Blasted thinks
through trauma with Shoshana Felman. In each case, the theoretical
position is explained lucidly and economically. The result is a
series of new interpretations not only of the plays, but of the
theoretical texts, which take on new relevance when linked with
modern British drama. The first textbook of its kind, linking
contemporary drama with critical and cultural theory. -- .
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