Publisher Description

If great drama flourishes in a changing world, the twentieth century may prove itself the most dramatically fruitful ever. The briefest historical outline shows a time of extraordinary upheaval, and twentieth-century drama's greatest achievement was that it managed to reflect those changes with courage, vision, and artistry. In A Pocket Guide to 20th Century Drama, Stephen Unwin and Carole Woddis examine fifty seminal works from the past one hundred years, and in the process chart some of the most profound events of that era -- from Anton Chekhov's illustration of the fin-de-siecle clash in cultural value systems in The Cherry Orchard to World War II's legacy of moral despair as voiced in Samuel Beckett's Waiting for Godot to Tony Kushner's stark and moving exploration of the ravages of AIDS in Angels in America. For each play, a precis is provided, along with a brief essay on its historical and literary context and a rundown of pertinent productions. In addition, the authors provide both an overview of the past century in history and drama, and a chronicle of one thousand of the century's notable plays, providing an understanding of what other works were being written at the time.

This book defines and exemplifies a major genre of modern dramatic writing, termed historiographic metatheatre, in which self-reflexive engagements with the traditions and forms of dramatic art illuminate historical themes and aid in the representation of historical events and, in doing so, formulates a genre. Historiographic metatheatre has been, and remains, a seminal mode of political engagement and ideological critique in the contemporary dramatic canon. Locating its key texts within the traditions of historical drama, self-reflexivity in European theatre, debates in the politics and aesthetics of postmodernism, and currents in contemporary historiography, this book provides a new critical idiom for discussing the major works of the genre and others that utilize its techniques. Feldman studies landmarks in the theatre history of postwar Britain by Weiss, Stoppard, Brenton, Wertenbaker and others, focusing on European revolutionary politics, the historiography of the World Wars and the effects of British colonialism. The playwrights under consideration all use the device of the play-within-the-play to explore constructions of nationhood and of Britishness, in particular. Those plays performed within the framing works are produced in places of exile where, Feldman argues, the marginalized negotiate the terms of national identity through performance.

It is said that British Drama was shockingly lifted out of the doldrums by the 'revolutionary' appearance of John Osborne's Look Back in Anger at the Royal Court in May 1956. But had the theatre been as ephemeral and effeminate as the Angry Young Men claimed? Was the era of Terence Rattigan and 'Binkie' Beaumont as repressed and closeted as it seems? In this bold and fascinating challenge to the received wisdom of the last forty years of theatrical history, Dan Rebellato uncovers a different story altogether. It is one where Britain's declining Empire and increasing panic over the 'problem' of homosexuality played a crucial role in the construction of an enduring myth of the theatre. By going back to primary sources and rigorously questioning all assumptions, Rebellato has rewritten the history of the Making of Modern British Drama.

Critical introductions to a range of literary topics and genres. Looking back on 20th century British drama from its' historical, social and political perspective enables the reader to set each play in a broader context. Contents include a selection of play extracts from well-known authors including Harold Brighouse, John Osborne, Harold Pinter, Tom Stoppard and Timberlake Wertenbaker.

The book offers the clearest definition yet of the history play, its scope and its limits. Historical drama is an extremely popular genre among 20th-century English playwrights. Yet the sheer size and complexity of the subject has, until now, prevented critics from attempting a clear definition. Dr. Harben provides a new and original perspective, taking into account modern ideas of and attitudes to history. The author examines the varying approaches to history taken by modern historians and playwrights, and provides a detailed analysis of the historical source material of selected plays. The study is supported with a wealth of vivid and provocative illustrations. Historical and dramatic criticism is related to theatrical interpretation and experience. This book therefore should prove valuable and interesting to the reader with a specialist interest in the field as well as to the more general reader.

This work provides an overview of Irish theatre, read in the light of Ireland's self-definition. Mediating between history and its relations with politics and art, it attempts to do justice to the enabling and mirroring preoccupations of Irish drama.