What does it matter what we read? The question of the materiality
of the book has surprising consequences when applied to dramatic
writing, where the bookish qualities of dramatic literature,
qualities emphasised by the dominion of print culture, have always
seemed antagonistic to plays' other life on the stage. In Print and
the Poetics of Modern Drama, W. B. Worthen asks how the print form
of drama bears on how we understand its dual identity - as play
texts and in performance. Beginning with the most salient modern
critique of printed drama - arising in the field of Shakespeare
editing - Worthen then looks at the ways playwrights and
performance artists from George Bernard Shaw and Gertrude Stein to
Harold Pinter, Samuel Beckett, Anna Deavere Smith and Sarah Kane
stage the poetics of modern drama in the poetics of the page.
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