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First Published in 1998. Routledge is an imprint of Taylor &
Francis, an informa company.
The only collection of essays on one of Britain's Angry Young Men,
this book contains discussions of most of Wesker's published plays
with an emphasis on the more recent works. Essays reevaluate the
plays that made Wesker a household name in Britain (the "Trilogy,"
"The Kitchen, and Chips with Everything)." Clive Barker,
co-director of "Centre 42," gives a fresh account of that movement,
and playwright Paul Levitt provides a previously unrecorded history
of "Caritas, Blood Libel, and Shylock." A personal profile of
Wesker by novelist Margaret Drabble is reprinted from an earlier
article. Original essays cover the theory and practice of
theatre-Wesker's in-text stage directions, British television's
adaptation of his plays, and an actor's and a director's
perspectives on working with the playwright.
Major international Weskerian critics are assembled here: Klaus
Peter Mÿ ller and Heiner Zimmermann from Germany; Rossana Bonadei,
Angela Locatelli, and Alessandra Marzola from Italy; Keith Gore,
Glenda Leeming, Martin Priestman, Jeremy Ridgman, Margaret Rose,
and Robert Wilcher from Great Britain; Menakshi Ponnuswami from
India; Robert Gross, Kimball King, and Robert Skloot from the
United States. These essays take a wide range of critical
approaches from an exploration of gender, to semiotics, biography,
and the New Historicism. This is the most comprehensive collection
of criticism on Arnold Wesker to date. Every major Weskerian
scholar writing in English has contributed a piece to this
casebook. Originating in Germany, Italy, Great Britain, India, and
the United States, their essays create an international cultural
context for Wesker's plays.
They also position his workamong his contemporaries, in his
historical era, and in the political and theatrical environment
that defines his world. Furthermore, they form a biographical
profile of Wesker, often giving us firsthand accounts of turning
points in his career. Finally, some essays evaluate and interpret
the major plays, dissecting and scrutinizing the formal elements
that make them distinct. Their critical approaches are varied in
that they make liberal use of semiotics, Bakhtinian and
communication theory, cultural studies, and traditional readings.
Their contributions compose a multi-faceted view of Wesker's life
and work setting out fresh arguments for all his plays.
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