This unique volume examines the evolution of British historical drama from the birth of modern British drama with John Osborne's Look Back in Anger in 1956 to the establishment of the right-wing government of Margaret Thatcher during the early 1980s. The book illustrates how the ruling group within a society establishes a cultural hegemony by which it perpetuates its values as society's norms. Radical Stages demonstrates how historical drama within the period increasingly was employed as a weapon in an assault upon this cultural hegemony.
First defining historical drama, Peacock differentiates the historical drama after 1956 from its predecessors as representing a shift from concern with individual psychology to an emphasis upon the socioeconomic context in which personality is formed. The first stage of this development, to 1968, was marked by a populist concern with ordinary people and by an absence of specific political propaganda. Following the defeat of student revolutionary movements in 1968, the gradual change in left-wing political inclination from anarchism to Marxism was treated in historical settings by such dramatists as Howard Brenton, Trevor Griffiths, Edward Bond, and David Edgar. Radical Stages analyzes these movements as reflected in drama and also considers the place of women in the revolutionary movements of the 1960s and in the British theatre and historical drama of the period. The final chapter speculates on the future of British historical drama in the wake of the fall of both the Thatcher government and communist governments in Eastern Europe.
Outlines the plot and characters of this groundbreaking play; explains the production, historical context, and themes; and includes critiques and reactions of scholars.
Cyrus Hoy, Thomas Dekker Fredson Bowers. but this identification is by no means regarded as certain , ' Hand C is that of a theatrical scribe , Hand D has been attributed to Shakespeare , 3 Hand E has been identified as Dekker's.4 ...
The Oxford Challenge to the Bard of Avon Richard F. Whalen, S. Schuster ... 168 n.6 Saintsbury , George , 4 Schoenbaum , S. , 5 , 12-13 , 43 , 96 , Spurgeon , Caroline F. E. , 156 n.11 Stanley , William ( sixth earl of 102 , 119 Sears ...
Although the satirical and comic drive of McDonagh's revivalist modernist play seems – as might his A Skull in Connemara – to exist on the basis of racist stereotypes like the 'ugly pugnacious ape-like cartoon figures of individual ...
128 See John Walton Tyrer , Historical Survey of Holy Week : Its Services and Ceremonial , Alcuin Club Collections 29 ( London : Oxford University Press , 1932 ) , esp . 58 ; and see also this occasion was important for other reasons ...
... Davies , The Autobiography of moves to Gaiety Theatre ; Craig a Super - Tramp ; Grahame , starts The Mask in Florence The Wind in the Willows 1909 Scottish Repertory Theatre Florence M. Barclay , The established by Arthur Wareing ...
A beautiful and haunting tale of love, betrayal, knowledge, and power, Life's a Dream (La vida es sueño, 1636) is the best known and most widely admired play of Catholic Europe's greatest dramatist, Pedro Calderón de la Barca.
This work focuses on Marlowe's works as an index of the major transformation of Elizabethan theatrical practices. In the opening chapter, Cole reviews the unusually intriguing historical record of Marlowe's life outside the theatre.
Because of his Welsh name, Jenkins is often suggested as a model for Shakespeare's Welsh characters, particularly the schoolmaster Hugh Evans in The Merry Wives of Windsor; however his roots were not in Wales at all but in London and at ...
... 330, 331 Rex Vivus (King of Life), 259, 288-9 rhapsodes, 227 Richard II, 156-7, 232, 238-9 'Rickinghall Fragment', 230 Robin Hood, 33, 133-8, 142, 143, 146-7, 237, 310, 318; A Merry Gest of Robin Hood, 137; Paston's reference to, ...