Contemporary British drama /
This book provides a critical assessment of dramatic literature since 1995, situating texts, companies and writers in a cultural, political and social context. It examines the shifting role of the playwright, the dominant genres and emerging styles of the past decade and how they are related. Beginn...
| Main Authors: | , |
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| Corporate Author: | |
| Format: | Book |
| Language: | English |
| Published: |
Edinburgh :
Edinburgh University Press,
2010
Edinburgh : ©2010 Edinburgh : [2022] |
| Series: | Edinburgh Critical Guides to Literature
Edinburgh critical guides to literature ; ECGL Edinburgh critical guides to literature |
| Subjects: |
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| 100 | 1 | |a Lane, David |1 http://viaf.org/viaf/233001932 | |
| 100 | 1 | |a Lane, David, |d 1980- | |
| 100 | 1 | |a Lane, David, |e author |4 http://id.loc.gov/vocabulary/relators/aut | |
| 245 | 1 | 0 | |a Contemporary British drama / |c David Lane |
| 260 | |a Edinburgh : |b Edinburgh University Press, |c 2010 | ||
| 260 | |a Edinburgh : |b Edinburgh University Press, |c ©2010 | ||
| 264 | 1 | |a Edinburgh : |b Edinburgh University Press, |c [2022] | |
| 264 | 4 | |c ©2010 | |
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| 300 | |a 1 online resource (241 pages) | ||
| 300 | |a 1 online resource (xxi, 218 pages) | ||
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| 490 | 1 | |a Edinburgh Critical Guides to Literature | |
| 490 | 1 | |a Edinburgh critical guides to literature | |
| 500 | |a Description based upon print version of record | ||
| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a COVER; Copyright; Contents; Series Preface; Acknowledgements; Chronology; Introduction; Chapter 1 In-Yer-Face Theatre and Legacies of the New Writing Boom; Chapter 2 Verbatim Theatre ? The Rise of a Political Voice; Chapter 3 Writing and Devising ? The Call for Collaboration; Chapter 4 Black and Asian Writers ? A Question of Representation; Chapter 5 Theatre for Young People ? Audiences of Today; Chapter 6 Adaptation and Transposition ? Reinterpreting the Past; Conclusion; Student Resources; Index | |
| 505 | 0 | |a COVER; Copyright; Contents; Series Preface; Acknowledgements; Chronology; Introduction; Chapter 1 In-Yer-Face Theatre and Legacies of the New Writing Boom; Chapter 2 Verbatim Theatre? The Rise of a Political Voice; Chapter 3 Writing and Devising? The Call for Collaboration; Chapter 4 Black and Asian Writers? A Question of Representation; Chapter 5 Theatre for Young People? Audiences of Today; Chapter 6 Adaptation and Transposition? Reinterpreting the Past; Conclusion; Student Resources; Index | |
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Series Preface -- |t Acknowledgements -- |t Chronology -- |t Introduction -- |t chapter 1 In-Yer-Face Theatre and Legacies of the New Writing Boom -- |t Chapter 2 Verbatim Theatre - The Rise of a Political Voice -- |t Chapter 3 Writing and Devising - The Call for Collaboration -- |t Chapter 4 Black and Asian Writers - A Question of Representation -- |t Chapter 5 Theatre for Young People - Audiences of Today -- |t Chapter 6 Adaptation and Transposition - Reinterpreting the Past -- |t Conclusion -- |t Student Resources -- |t Index |
| 506 | |a Restricted for use by site license | ||
| 520 | |a This book provides a critical assessment of dramatic literature since 1995, situating texts, companies and writers in a cultural, political and social context. It examines the shifting role of the playwright, the dominant genres and emerging styles of the past decade and how they are related. Beginning with an examination of how dramatic literature and the writer are placed in the contemporary theatre, the book then provides detailed analyses of the texts, companies and writing processes involved in six different professional contexts: new writing, verbatim theatre, writing and devising, Black and Asian theatre, writing for young people and adaptation and transposition. The chapters cover contemporary practitioners, including Simon Stephens, Gregory Burke, Robin Soans, Alecky Blythe, Kneehigh Theatre, Punchdrunk, Kwame Kwei-Armah, Edward Bond, Filter Theatre and Headlong, and offers detailed case-studies and examples of their work. Key Features The first book to examine contemporary British drama from the In-Yer-Face era (1995 - 2000) to the present day and track the changes and developments through this period Extended case-studies of Simon Stephens, Gregory Burke and Caryl Churchill and the last decade of new writing in Britain Focus on recent adaptation, including Kneehigh Theatre, Punchdrunk, Filter Theatre and Headlong | ||
| 520 | |a This book provides a critical assessment of dramatic literature since 1995, situating texts, companies and writers in a cultural, political and social context. It examines the shifting role of the playwright, the dominant genres and emerging styles of the past decade and how they are related. Beginning with an examination of how dramatic literature and the writer are placed in the contemporary theatre, the book then provides detailed analyses of the texts, companies and writing processes involved in six different professional contexts: new writing, verbatim theatre, writing and devising, Black and Asian theatre, writing for young people and adaptation and transposition. The chapters cover contemporary practitioners, including Simon Stephens, Gregory Burke, Robin Soans, Alecky Blythe, Kneehigh Theatre, Punchdrunk, Kwame Kwei-Armah, Edward Bond, Filter Theatre and Headlong, and offers detailed case-studies and examples of their work. Key Features The first book to examine contemporary British drama from the In-Yer-Face era (1995 - 2000) to the present day and track the changes and developments through this period Extended case-studies of Simon Stephens, Gregory Burke and Caryl Churchill and the last decade of new writing in Britain Focus on recent adaptation, including Kneehigh Theatre, Punchdrunk, Filter Theatre and Headlong | ||
| 520 | |a This book provides a critical assessment of dramatic literature since 1995, situating texts, companies and writers in a cultural, political and social context. It examines the shifting role of the playwright, the dominant genres and emerging styles of the past decade and how they are related.Beginning with an examination of how dramatic literature and the writer are placed in the contemporary theatre, the book then provides detailed analyses of the texts, companies and writing processes involved in six different professional contexts: new writing, verbatim theatre, writing and devising, Black and Asian theatre, writing for young people and adaptation and transposition. The chapters cover contemporary practitioners, including Simon Stephens, Gregory Burke, Robin Soans, Alecky Blythe, Kneehigh Theatre, Punchdrunk, Kwame Kwei-Armah, Edward Bond, Filter Theatre and Headlong, and offers detailed case-studies and examples of their work.Key FeaturesThe first book to examine contemporary British drama from the In-Yer-Face era (1995 - 2000) to the present day and track the changes and developments through this periodExtended case-studies of Simon Stephens, Gregory Burke and Caryl Churchill and the last decade of new writing in BritainFocus on recent adaptation, including Kneehigh Theatre, Punchdrunk, Filter Theatre and Headlong | ||
| 538 | |a Mode of access: Internet via World Wide Web | ||
| 546 | |a In English | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 06. Mrz 2022) | |
| 588 | 0 | |a Print version record | |
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| 650 | 0 | |a English drama |y 21st century |x History and criticism | |
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| 776 | 0 | 8 | |i Print version: |a Lane, David, 1980- |t Contemporary British drama. |d Edinburgh : Edinburgh University Press, ©2010 |z 9780748638215 |w (OCoLC)506174455 |
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