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The first of its kind, this companion to British-Jewish theatre
brings a neglected dimension in the work of many prominent British
theatre-makers to the fore. Its structure reflects the historical
development of British-Jewish theatre from the 1950s onwards,
beginning with an analysis of the first generation of writers that
now forms the core of post-war British drama (including Tom
Stoppard, Harold Pinter and Arnold Wesker) and moving on to
significant thematic force-fields and faultlines such as the
Holocaust, antisemitism and Israel/Palestine. The book also covers
the new generation of British-Jewish playwrights, with a special
emphasis on the contribution of women writers and the role of
particular theatres in the development of British-Jewish theatre,
as well as TV drama. Included in the book are fascinating
interviews with a set of significant theatre practitioners working
today, including Ryan Craig, Patrick Marber, John Nathan, Julia
Pascal and Nicholas Hytner. The companion addresses, not only
aesthetic and ideological concerns, but also recent transformations
with regard to institutional contexts and frameworks of cultural
policies.
The first of its kind, this companion to British-Jewish theatre
brings a neglected dimension in the work of many prominent British
theatre-makers to the fore. Its structure reflects the historical
development of British-Jewish theatre from the 1950s onwards,
beginning with an analysis of the first generation of writers that
now forms the core of post-war British drama (including Tom
Stoppard, Harold Pinter and Arnold Wesker) and moving on to
significant thematic force-fields and faultlines such as the
Holocaust, antisemitism and Israel/Palestine. The book also covers
the new generation of British-Jewish playwrights, with a special
emphasis on the contribution of women writers and the role of
particular theatres in the development of British-Jewish theatre,
as well as TV drama. Included in the book are fascinating
interviews with a set of significant theatre practitioners working
today, including Ryan Craig, Patrick Marber, John Nathan, Julia
Pascal and Nicholas Hytner. The companion addresses, not only
aesthetic and ideological concerns, but also recent transformations
with regard to institutional contexts and frameworks of cultural
policies.
In this book, Jeanette Malkin considers a broad spectrum of
post-war plays in which characters are created, coerced and
destroyed by language. The playwrights examined include Handke,
Pinter, Bond, Albee, Mamet and Shepard, as well as Vaclav Havel and
two of his plays: The Garden Party and The Memorandum. These
playwrights portray language's power within our political, social
and interpersonal worlds. The violence that language does, the
'tyranny of words', grabs centre stage in their plays. Characters
are manipulated and defined through language, their actions and
identity limited by verbal options, in order to reveal the links
between language and power. The book will be of interest to
students and scholars of drama, theatre history, American and
European literature, and comparative literature.
In this book, Jeanette Malkin considers a broad spectrum of postwar plays in which characters are created, coerced, and destroyed by language. The playwrights examined are diverse and include Handke, Pinter, Bond, Albee, Mamet and Shepard, as well as Vaclav Havel and two of his plays: The Garden Party and The Memorandum. These playwrights portray language's manipulation of our political, social, and interpersonal worlds. Writing in a variety of idioms and styles, the playwrights all reveal the link between language and power.
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