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British theatre of the 1990s witnessed an explosion of new talent
and presented a new sensibility that sent shockwaves through
audiences and critics. What produced this change, the context from
which the work emerged, the main playwrights and plays, and the
influence they had on later work are freshly evaluated in this
important new study in Methuen Drama's Decades of Modern British
Playwriting series. The 1990s volume provides a detailed study by
four scholars of the work of four of the major playwrights who
emerged and had a significant impact on British theatre: Sarah Kane
(by Catherine Rees), Anthony Neilson (Patricia Reid), Mark
Ravenhill (Graham Saunders) and Philip Ridley (Aleks Sierz).
Essential for students of Theatre Studies, the series of six
decadal volumes provides a critical survey and study of the theatre
produced from the 1950s to 2009. Each volume features a critical
analysis of the work of four key playwrights besides other theatre
work, together with an extensive commentary on the period. Readers
will understand the works in their contexts and be presented with
fresh research material and a reassessment from the perspective of
the twenty-first century. This is an authoritative and stimulating
reassessment of British playwriting in the 1990s.
The first rule of heartbreak club is - get your heart broken.
That's all really. Caroline's heart broke when her husband took his
own life. Josh's heart broke when his wife was killed in an
accident. And somehow, talking to a group of strangers once a week
doesn't seem to be helping either of them. Until Sylvia arrives.
When she lost her own partner two years ago, she fell apart and had
to put herself back together. Most of all she wished for the help
of someone who'd been through it already. And now she's here to
pass her handbook on to those who need it most. The problem is,
following Sylvia's rules means looking to the future. And Caroline
and Josh each need some answers from their past before they can
even think about that... Praise for Eva Woods and her novels:
'Uplifting' Independent 'Life-affirming' Adele Parks 'Smart and
wise' Tasmina Perry 'Touching and thought-provoking' Holly Miller,
author of THE SIGHT OF YOU
British theatre of the 1990s witnessed an explosion of new talent
and presented a new sensibility that sent shockwaves through
audiences and critics. What produced this change, the context from
which the work emerged, the main playwrights and plays, and the
influence they had on later work are freshly evaluated in this
important new study in Methuen Drama's Decades of Modern British
Playwriting series. The 1990s volume provides a detailed study by
four scholars of the work of four of the major playwrights who
emerged and had a significant impact on British theatre: Sarah Kane
(by Catherine Rees), Anthony Neilson (Patricia Reid), Mark
Ravenhill (Graham Saunders) and Philip Ridley (Aleks Sierz).
Essential for students of Theatre Studies, the series of six
decadal volumes provides a critical survey and study of the theatre
produced from the 1950s to 2009. Each volume features a critical
analysis of the work of four key playwrights besides other theatre
work, together with an extensive commentary on the period. Readers
will understand the works in their contexts and be presented with
fresh research material and a reassessment from the perspective of
the twenty-first century. This is an authoritative and stimulating
reassessment of British playwriting in the 1990s.
This Reader's Guide synthesises the key criticism on Pinter's work
over the last half century. Andrew Wyllie and Catherine Rees
examine critical approaches and reactions to the major plays,
charting the controversies which have arisen in response to
Pinter's critiques of political and sexual issues. They consider
criticism from the press and academics, on the themes of Absurdism,
politics and gender identity. By placing this criticism in its
historical context, this guide illustrates a transition from
bewilderment and outrage to affection, fascination - and more
outrage.
This guide offers a comprehensive account of British theatre from
the 1960s to the present day. Placing critical commentary at the
heart of its analysis, it explores how theatre critics and scholars
have sought to understand and write about modern theatre, from the
earliest reviews to revivals appearing decades later. With studies
of contemporary reviews and archival material, Contemporary British
Drama offers readers the opportunity to learn about British theatre
in its original context and to chart shifting critical perceptions
over the decades. It provides a crucial juxtaposition between the
development of British theatre and its contemporaneous critical
response, supplying an invaluable insight into the critical climate
of recent decades. From feminist playwrighting to In-Yer-Face
theatre, this is the ideal companion for undergraduate students of
literature and theatre in need of an introduction to the debates
surrounding contemporary British drama.
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