By Mary Luckhurst, Nadine Holdsworth

Focusing on significant and rising playwrights, associations, and diverse theatre practices this Concise spouse examines the foremost concerns in British and Irish theatre considering 1979. Written through best foreign students within the box, this assortment bargains new methods of pondering the social, political, and cultural contexts in which particular points 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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A Concise Companion to Contemporary British and Irish Drama (Concise Companions to Literature and Culture)

Focusing on significant and rising playwrights, associations, and numerous theatre practices this Concise spouse examines the most important concerns in British and Irish theatre due to the fact that 1979. Written via prime overseas students within the box, this assortment bargains new methods of puzzling over the social, political, and cultural contexts during 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 concerns and practices have emerged as major within the theatre of this period.

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Morocco is the gateway between Europe and Africa, Berlin was a city that sat at the heart of a divided Cold War Europe and was itself a divided city, and Sava is the name of the river that acts as most of the northern border of Bosnia-Hercegovina and Croatia, as well as flowing through Slovenia and Serbia. Between them these three names mark out the borders of Europe, both old and new, and act as a reminder within 16 Europe in Flux the play of the borders and boundaries that define and problematize the notion of Europe.

Kent, through 22 Europe in Flux this reconstruction, stops this story being reduced to mere maps and statistics, elements that can be readily printed within newspapers or turned into computer-generated graphics on the television news. Srebrenica foregrounds the human beings involved and in doing so helps to deny the total construction of the Srebrenica massacre as an organizational catastrophe, helping to maintain the event, at least in part, as a human atrocity. Collectively, the plays discussed within this chapter represent a theatrical response to a changing Europe.

As it happens, the internal phenomena threatening the indigenous peasant culture help to guarantee the victory of British mercantile imperialism, which appears in the form of the officious Lancey and the awkward Lieutenant George Yolland. While Lancey carries out his task with aloof pragmatism, Yolland rapidly succumbs to the charms of the culture that it is his job to uproot. A dreamy romantic enraptured by anything Irish, Yolland speaks in act II about his failure to please a dictatorial father who was born on ‘the very day the Bastille fell’ (40).

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