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This ground-breaking volume is the first of its kind to examine the
extraordinary prevalence and appeal of the Gothic in contemporary
British theatre and performance. Chapters range from considerations
of the Gothic in musical theatre and literary adaptation, to
explorations of the Gothic's power to haunt contemporary
playwriting, macabre tourism and site-specific performance. By
taking familiar Gothic motifs, such as the Gothic body, the monster
and Gothic theatricality, and bringing them to a new contemporary
stage, this collection provides a fresh and comprehensive take on a
popular genre. Whilst the focus of the collection falls upon Gothic
drama, the contents of the book will embrace an interdisciplinary
appeal to scholars and students in the fields of theatre studies,
literature studies, tourism studies, adaptation studies, cultural
studies, and history.
This ground-breaking volume is the first of its kind to examine the
extraordinary prevalence and appeal of the Gothic in contemporary
British theatre and performance. Chapters range from considerations
of the Gothic in musical theatre and literary adaptation, to
explorations of the Gothic's power to haunt contemporary
playwriting, macabre tourism and site-specific performance. By
taking familiar Gothic motifs, such as the Gothic body, the monster
and Gothic theatricality, and bringing them to a new contemporary
stage, this collection provides a fresh and comprehensive take on a
popular genre. Whilst the focus of the collection falls upon Gothic
drama, the contents of the book will embrace an interdisciplinary
appeal to scholars and students in the fields of theatre studies,
literature studies, tourism studies, adaptation studies, cultural
studies, and history.
The Victorians, having once been seen as 'them', the age
responsible for the mistakes of the past, were transformed by the
new theatrical forms of the 1960s into 'us', a metaphor for what
the nation thinks (and fears) about itself. And, since the 1980s
and the rise of new biographical forms in the theatre, the emphasis
has shifted further, from 'we' to 'me': plays about individuals,
great and small, and their struggles for personal validation. This
study argues powerfully that the stage portrayal of the Victorians
in recent times is a key reference point in understanding notions
of Britishness, heritage and nostalgia, and the profound
politicisation of national identity over the last four decades.
Using many examples drawn from theatre archives, and throwing new
light on works by canonical playwrights like Bond, Edgar, and
Churchill, it charts the decline in class-based narratives of the
British people and the move towards plays reflecting a more
atomised, individuated society, preoccupied with identity and the
past but no longer able to provide a convincing account of itself
as a nation.
This collection considers new phenomena emerging in a convergence
environment from the perspective of adaptation studies. The
contributions take the most prominent methods within the field to
offer reconsiderations of theoretical concepts and practices in
participatory culture, transmedia franchises, and new media
adaptations. The authors discuss phenomena ranging from mash-ups of
novels and YouTube cover songs to negotiations of authorial control
and interpretative authority between media producers and fan
communities to perspectives on the fictional and legal framework of
brands and franchises. In this fashion, the collection expands the
horizons of both adaptation and transmedia studies and provides
reassessments of frequently discussed (BBC's Sherlock or the LEGO
franchise) and previously largely ignored phenomena
(self-censorship in transnational franchises, mash-up novels, or
YouTube cover videos).
The stage portrayal of the Victorians in recent times is a key
reference point in understanding notions of Britishness, and the
profound politicisation of that debate over the last four decades.
This book throws new light on works by canonical playwrights like
Bond, Edgar, and Churchill, linking theatre to the wider culture at
large.
The historical age of empires may be over, but empire, as an idea,
continues to exercise a hold over our imaginations. This compelling
examination of the relationship between theatre and empire begins
with potential definitions and theories of empire, suggesting how
we might think of these two notions together and how we might see
empire itself as theatre. A variety of case studies are then used
to explore theatre in light of both cultural and economic
imperialism.
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