Theatre Since 1968

Pattie, David

doi:10.1002/9780470751480.ch32

Cited by 3 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In the former, it is concerning the performance of a controversial play about Winston Churchill, and in the latter play the poetical and intellectual resistance of the major poets of romanticism, Percy and Mary Shelley, Lord Byron and Claire Clairemont, by writing political verse and harassing the character Polidori, a journalist and agent of power. In this regard, Brenton more than any other contemporary dramatist, with the exception of Howard Barker, has engaged himself in what Pattie (2006) has said about the politics of historiography in contemporary British drama that "history is created by contemporary generations" (p. 385). Bloody Poetry not only deals with the question of effective resistance and the role of intellectuals in public, but also it identifies the exercise of power and the forced exile of the free-thinkers resulted in that exercise.…”

Section: Introductionmentioning

confidence: 99%

Staging Romanticism and Dissidence in Howard Brenton’s Bloody Poetry

Farhadi

Mozaheb

2017

ALLS

View full text Add to dashboard Cite

Staging history is an approach of historicism that is widely practiced by the post-1968 British playwrights. Historical playwriting not only helps to identify and unmask repressive power institutions, but also to question the conventional trends in writing history in general. One of these playwrights is Howard Brenton. By staging the history of romanticism in the early nineteenth century and the self-imposed exile of Romantic figures in his play Bloody Poetry (1984) Brenton attempts to achieve multiple purposes. By using literary analysis and historical reading, the researchers identify the causes of Shelley-Byron circle's self-exile and the way in which a dissident discourse is formed as an opposition to the mechanism of disciplinary power and one of its powerful discourses which is journalism. In addition to this, they explore Brenton's main politics of representation of the role and function of poet-intellectual in public and how literature as a dissident discourse may function under the administration of Margaret Thatcher in the UK in the 1980s.

show abstract

Section: Introductionmentioning

confidence: 99%

Staging Romanticism and Dissidence in Howard Brenton’s Bloody Poetry

Farhadi

Mozaheb

2017

ALLS

View full text Add to dashboard Cite

show abstract

“…According to Pattie (2006), "Churchill's 1970s work blended a strong commitment to both socialism and feminism with an interest in experimentation. Her formally innovative plays combined an analysis of gender and economic oppression, both in contemporary Britain and in other historical ages".…”

Section: Introductionmentioning

confidence: 99%

Bourdieusian Reading of Caryl Churchill’s Serious Money

Marandi

Anushiravani²

2015

ELLS

View full text Add to dashboard Cite

Caryl Churchill is one of the most widely performed female dramatists in contemporary British theatre. She is arguably the most successful and best-known socialist-feminist playwright to have merged from Second Wave feminism. Her plays have been performed all over the world. In her materialist plays, she shows the matters of culture, education, power, politics, and myth. Her oeuvre hovers over the material conditions which testify to the power relations within society at a given time in history. Pierre Bourdieu, a French sociologist, and theorist in cultural studies points out the dynamics of power relations in social life throughout ideas such as capital, field, habitus, symbolic violence, theories concerned with class and culture. The overarching concern for the purpose of this essay is to analyse Churchill's Serious Money (1987) in the light of Bourdieu's sociological concepts. In accordance with Bourdieu, there exist various kinds of capital (cultural, economic, social, and symbolic) which distinguish every individual's status both in society and in relation to other individuals. The present study attempts to show that in Serious Money, the capital especially economic capital forms the foundation of social life and dictates one's position within the social order and respectively, determining the power discourse in the matrix of social life.

show abstract

The Wide White Stage: Representations of Antarctica in Theatrical Productions (1930-2011)

Nielsen¹

2013

View full text Add to dashboard Cite

Theatre Since 1968

Cited by 3 publications

References 0 publications

Staging Romanticism and Dissidence in Howard Brenton’s Bloody Poetry

Staging Romanticism and Dissidence in Howard Brenton’s Bloody Poetry

Bourdieusian Reading of Caryl Churchill’s Serious Money

The Wide White Stage: Representations of Antarctica in Theatrical Productions (1930-2011)

Contact Info

Product

Resources

About