Titlebook: Contemporary British Theatre; Breaking New Ground Vicky Angelaki (Lecturer in Drama) Book 2013 Palgrave Macmillan, a division of Macmillan

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Politics for the Middle Classes: Contemporary Audiences and the Violence of Now,served: ‘[t]hese are challenging times. Now more than ever we need places where reflection, question and visceral experience can elevate the daily and the private and remind us of our humanity and universality’.. She added: ‘[t]he fearlessness and skill of our playwrights, [… along] with our complex

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Language Games and Literary Constraints: Playing with Tragedy in the Theatre of Caryl Churchill andosed of a montage of straight-from-life declarations or political speeches (such as David Hare’s ., examining the privatization of railways in the United Kingdom, or ., focusing on Tony Blair’s decision to follow the United States of America in the war in Iraq), which certainly ranks as one of the m

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Racial Violence, Witnessing and Emancipated Spectatorship in , and ,,violence in contemporary Britain. As is well known, Norton-Taylor’s piece, one of the Tricycle Theatre’s tribunal plays, was written and produced in the wake of the racist murder of Stephen Lawrence in Eltham (south-east London) in April 1993 and the ensuing Macpherson Inquiry set up in March 1998.

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,Old Wine in a New Bottle or Vice Versa? Winsome Pinnock’s Interstitial Poetics, of black and Asian dramatists and theatre practitioners in contemporary British culture.. Drawing on Bourdieu’s sociological theory, Godiwala creates a strong locus for diasporic/interstitial writers and artists as the best qualified to tackle the heterogeneity of contemporary British culture. In t

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,Acting In/Action: Staging Human Rights in debbie tucker green’s Royal Court Plays,ritish (woman) playwrights of the early twenty-first century. Her first two plays were produced within weeks of each other at the Soho Theatre (. (2003)) and Hampstead Theatre (. (2003)), and subsequent productions have been shown in the Royal Shakespeare Company (RSC) New Works Festival in Stratfor

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https://doi.org/10.1007/978-3-663-07488-5acism and a peculiar ‘tokenization’ of the black artist.. It is precisely the role of the diasporic/interstitial subject to fill in what exist as lacunae in the indigenous British subject’s ‘doxic field’..

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Introduction,d light on. Certainly, more key figures in contemporary playwriting, theatremaking and cultural management have come to the foreground in defence of theatre — and the arts more broadly — as well as of the need for the plurality of performance in the more recent period, and rightly so.