By Mary Luckhurst, Nadine Holdsworth
Focusing on significant and rising playwrights, associations, and diverse theatre practices this Concise spouse examines the foremost matters in British and Irish theatre on the grounds that 1979. Written by means of major foreign students within the box, this assortment bargains new methods of pondering the social, political, and cultural contexts in which particular facets of British and Irish theatre have emerged and explores the connection among those contexts and the works produced. It investigates why specific matters and practices have emerged as major within the theatre of this period.
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Extra resources for A Concise Companion to Contemporary British and Irish Drama (Concise Companions to Literature and Culture)
18 Europe in Flux Katia: Berlin: Adele: Katia: Berlin: Sarajevo. Or more important place. Just imagine. Shh . . They know that, in our way, we’re also Europe. (89–90) Never again? I will now turn to two plays that explore the distressing consequences of the tensions articulated by Pentecost and Europe: Nicholas Kent’s Srebrenica (Tricycle, 1996) and Sarah Kane’s Blasted (Royal Court Theatre Upstairs, 1995). Both plays offer salient warnings about ignoring Europe’s nationalistic and ethnic tensions and concern themselves intimately with the conﬂict that followed the break-up of the Federal Republic of Yugoslavia, a horriﬁc conﬂict that marked the nadir of European transition and change during the 1990s and confronted the EU with one of its sternest challenges.
Local and Regional Authorities and the Immigration Challenge. Luxembourg: Ofﬁce for Ofﬁcial Publications of the European Communities. Kingston, Jeremy (1996). ‘Trials of a Court Reporter: All the World’s Crime is a Stage for Nicolas Kent’, The Times (features section), 7 October, 1. Langridge, Natasha, and Stephenson, Heidi (1997). Rage and Reason: Women Playwrights on Playwriting. London: Methuen. Leonard, Mark (2005). ‘Ascent of Europe’, Prospect, March, 22–5. Lubbock, Tom (1996). ‘Mighty White “Art” is a Minimalist Comedy: Plenty of Gags, but Only One Joke’, Observer, 20 October, 11.
His remarks resonate on several levels: the lack of change may be a sign of stagnation, but to the extent to which Baile Beag’s consistency is a virtue it is Owen’s job to transform it. Undaunted by this, he smoothly takes the lead in the hedge-school game of conjugation and etymology despite his years away, while engaging in relaxed banter with the British ofﬁcials whom he calls his ‘friends’. But it soon becomes evident that Owen’s effort to reside in two conﬂicting worlds renders him an outcast in both.