Titlebook: After In-Yer-Face Theatre; Remnants of a Theatr William C. Boles Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive

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书目名称After In-Yer-Face Theatre影响因子(影响力)学科排名




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书目名称After In-Yer-Face Theatre网络公开度学科排名




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书目名称After In-Yer-Face Theatre被引频次学科排名




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书目名称After In-Yer-Face Theatre年度引用学科排名




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书目名称After In-Yer-Face Theatre读者反馈学科排名

septicemia

大约冬季

“A Shop Window for Outrage”: Harold Pinter’s ,, In-Yer Face Theatre and the Royal Court’s 1996 West unch the English Stage Company’s (ESC) residency in the West End while its Sloane Square home underwent major renovation. Lasting from 1996 until 2000 the residency coincided with the high-water mark of In-Yer Face theater, where work including Mark Ravenhill’s . (1996) and Sarah Kane’s . (1998) sha

Ringworm

“The Last Rolo”: Love, Conflict and War in Anthony Neilson’s se analysis of Anthony Neilson’s 1993 play .. While the play is ostensibly a provocative, vicious account of misogyny and male violence, Newberry reads characterization through the lens of Eve Sedgewick’s understanding of the homosocial bond and the cementing of ties made in childhood. Exploring the

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Mark Ravenhill’s Dialectical Emotions: In-Yer-Face as Post-Brechtian Theaterennium, but also of dialectical aesthetics as inspired by Bertolt Brecht. Drawing on Mark Ravenhill’s ., Hartl proposes a metatheatrical reading to show how the play engages with the question of the forms and functions of Brechtian theater against the background of an experience of ambivalence and u

Kindle

Undressing Sarah Kane: A Portuguese Perspective on In-Yer-Facey . carried out regarding ., ., . and ., as well as Nuno Cardoso’s production of ., this chapter relates Sarah Kane’s oeuvre to the Portuguese historical and cultural context. In addition, besides examining how critics reacted to the performances and staged readings, it also explores the impact said

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六边形

外表读作

The Hidden Dialogue Between Sarah Kane and Edward Bond: The Dramaturgy of Accident Time and Ethical he relationship between Kane’s and Bond’s early work, Chen argues that Kane’s plays resonate more with Bond’s later theory of subjectivity and dramaturgy. Through exploring this neglected connection, this chapter clarifies the logic behind Bond’s appreciation of Kane and sheds new light on Kane as a

meditation

From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neils in British drama, where our tendency to live inside our heads is explored in the context of late capitalist society. She first studies the innovative dramatic forms and modalities of this postmodern “psychopoetics” of the stage obsessed with indeterminacy, instability, and uncertainty, and shows ho