The Festival Cities of Edinburgh and Adelaide examines how these cities' world-famous arts events have shaped and been shaped by their long-term interaction with their urban environments.
This book explores Bernard Shaw's journalism from the mid-1880s through the Great War-a period in which Shaw contributed some of the most powerful and socially relevant journalism the western world has experienced.
London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain's status and position at the beginning of the twentieth century.
This volume gathers 16 papers originally written for the occasion of the 49th Colston Symposium, held in Bristol in 1997, and substantially revised for this publication.
Im Mittelpunkt dieser Plautus-Interpretation steht die Besonderheit Plautinischer Dramaturgie, die von der Autorin auf der Grundlage eines methodisch neuen Ansatzes erarbeitet wird.
Theatre is traditionally considered a live medium but its 'liveness' can no longer simply be taken for granted in view of the increasing mediatisation of the stage.
Age-old scholarly dogma holds that the death of serious theatre went hand-in-hand with the 'death' of the city-state and that the fourth century BC ushered in an era of theatrical mediocrity offering shallow entertainment to a depoliticised citizenry.
Theatre is traditionally considered a live medium but its 'liveness' can no longer simply be taken for granted in view of the increasing mediatisation of the stage.
Age-old scholarly dogma holds that the death of serious theatre went hand-in-hand with the 'death' of the city-state and that the fourth century BC ushered in an era of theatrical mediocrity offering shallow entertainment to a depoliticised citizenry.
This book reads Martin Crimp's The Treatment (1993), Attempts on her Life (1997), The Country (2000), Face to the Wall (2002), Cruel and Tender (2004) and his adaptation of Chekhov's The Seagull (2006) in the context of contemporary, late capitalist societies of control or of 'spectacle', and explores how female collapse in particular works as a form of denunciation of the violence of globalized, technological neo-liberalism.
British drama of the 1990s is most commonly associated with the term in-yer-face theatre, which was coined by Aleks Sierz to describe the shocking and provocative work of emerging playwrights such as Mark Ravenhill or Sarah Kane.
