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The book series CDE Studies invites monographs (and collections) on issues in contemporary Anglophone dramatic literature and theatre performance. The book series is dedicated to the analysis and renegotiation of contemporary writers and plays and their historical, political, formal, theoretical and methodological contexts.
Verbatim theatre, a type of performance based on actual words spoken by ''real people'', has been at the heart of a remarkable and unexpected renaissance of the genre in Great Britain since the mid-nineties. The central aim of the book is to critically explore and account for the relationship between contemporary British verbatim theatre and realism whilst questioning the much-debated mediation of the real in theses theatre practices.
British Social Realism details and explores the rich tradition of social realism in British cinema from its beginnings in the documentary movement of the 1930s to its more stylistically eclectic and generically hybrid contemporary forms. Samantha Lay examines the movements, moments and cycles of British social realist texts through a detailed consideration of practice, politics, form, style and content, using case studies of key texts including Listen to Britain, Saturday Night and Sunday Morning, Letter to Brezhnev, and Nil by Mouth. In discussing the work of many prominent realist filmmakers, the book considers the challenges for social realist film practice and production in Britain, now and in the future.
Hold tight as you are thrown into New York City's deep and dark underworld, in this exciting new play on the Abbey stage. Man has just set foot on the moon. The streets of Brooklyn are tense. The Irish Mafia is desperately trying to hold on to their power and more importantly their identity. After all, THEY built these streets. In this edgy new story, relationships between family, friends and enemies are ultimately challenged.
'Capitalist realism' implies that, ever since the fall of Soviet communism in 1989, capitalism has been the only realistic system of production and distribution. Everything else is generally dismissed as 'utopianism' or just naïve dreaming. This perspective points to a worrying failure of imagination, suggesting that it is now easier to imagine the end of the world than the end of capitalism. But here is the paradox of capitalist realism: just as the dominant cultural imagination has contracted into a single vision of what is possible, the existing system shows itself to be in the process of self-destructing, serving neither people nor planet. Whether by design or disaster, the future will be post-capitalist. In his fourth book of collected essays, degrowth scholar and activist Samuel Alexander seeks to transcend capitalist realism. He shows that viable and desirable alternatives are being lived into existence today by diverse but connected social movements. Calling for a 'degrowth' transition of planned economic contraction, Alexander examines and develops this emerging paradigm from various political, energetic, and aesthetic perspectives. Readers will come away seeing plausible pathways to prosperity, sustainability, and resilience that do not rely on the capitalist growth model of progress.