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In "Women in Dramatic Place and Time" Geraldine Cousins presents
detailed analyses of a wide range of plays by British women
dramatists from the 1980s and '90s. She focuses on women's dramatic
efforts to "speak out" of the ideological spaces in which they have
been positioned. She attends to the processes through which female
characters have found their voices, and tracks their journeys into
previously uninhabited territories. The plays she considers
include: Pam Gem's "Queen Christina," Charlotte Keatley's "My
Mother Said I Never Should," Louise Page's "Real Estate,"
Timberlake Wertenbaker's "The Grace of Mary Traverse," Winsome
Pinnock's "Leave Taking," Caryl Churchill's "The Skriker" and Anne
Devlin's "After Easter."
In this work, Geraldine Cousins presents detailed analyses of a
wide range of plays by British women dramatists from the last two
decades. The book takes as its central focus women's dramatic
attempts to "speak out" of the ideological spaces in which they
have been confined. It reveals the processes through which female
characters have found their voices, and tracks their journeys into
previously uninhabited territories. The plays considered include:
"Queen Christina" by Pam Gem; "My Mother Said I Never Should" by
Charlotte Keatley; "Real Estate" by Louise Page; "The Grace of Mary
Traverse" by Timberlake Wertenbaker; "Leave Taking" by Winsome
Pinnock; "The Striker" by Caryl Churchill; and "After Easter" by
Anne Devlin.
Playing for time explores connections between theatre time, the
historical moment and fictional time. Geraldine Cousin persuasively
argues that a crucial characteristic of contemporary British
theatre is its preoccupation with instability and danger, and
traces images of catastrophe and loss in a wide range of recent
plays and productions. The diversity of the texts that are examined
is a major strength of the book. In addition to plays by
contemporary dramatists, Cousin analyses staged adaptations of
novels, and productions of plays by Euripides, Strindberg and
Priestley. A key focus is Stephen Daldry's award-winning revival of
Priestley's An Inspector Calls, which is discussed in relation both
to other Priestley 'time' plays and to Caryl Churchill's
apocalyptic Far Away. Lost children are a recurring motif: Bryony
Lavery's Frozen, for example, is explored in the context of the
Soham murders (which took place while the play was in production at
the National Theatre), whilst three virtually simultaneous
productions of Euripides' Hecuba are interpreted with regard to the
Beslan massacre of schoolchildren. -- .
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