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The newest play by Britain's brilliant Caryl Churchill.
Logan is a repairman in the wrong place at the wrong time—which is a creepy corporate lab in the middle of the goddamn night. After fighting off a freaky creature, he joins forces with three other poor souls trapped inside the building. Who are they? What are they doing here? What the hell is going on? And will any of them get out alive? The first in a brand new series from the mind of Tessa Stone (Hanna Is Not a Boy's Name, Buzz!)!
One of Europe's greatest playwrights, Caryl Churchill has been internationally celebrated for four decades. She has exploded the narrow definitions of political theatre to write consistently hard-edged and innovative work. Always unpredictable in her stage experiments, her plays have stretched the relationships between form and content, actor and spectator to their limits. This new critical introduction to Churchill examines her political agendas, her collaborations with other practitioners, and looks at specific production histories of her plays. Churchill's work continues to have profound resonances with her audiences and this book explores her preoccupation with representing such phenomena as capitalism, genocide, environmental issues, identity, psychiatry and mental illness, parenting, violence and terrorism. It includes new interviews with actors and directors of her work, and gathers together source material from her wide-ranging career.
First published in 1997.
This innovative collection features essays by a range of internationally renowned scholars and reconsiders textual practices in contemporary performance, specifically focusing on the exciting exchange between text, body and technology.
Caryl Churchill's plays are internationally performed, studied and acclaimed by practitioners, theatre scholars, critics and audiences alike. With fierce imagination the plays dramatise the anxieties and terrors of contemporary life. This Companion presents new scholarship on Churchill's extraordinary and ground-breaking work. Chapters explore a cluster of major plays in relation to pressing social topics – ecological crisis, sexual politics, revolution, terror and selfhood – providing close readings of texts in their theatrical, theoretical and historical contexts. These topic-based essays are intercalated with other essays that delve into Churchill's major collaborations, her performance innovations and her influences on a new generation of playwrights. Contributors explore Churchill's career-long experimentation – her risk-taking that has reinvigorated the stage, both formally and politically. Providing a new critical platform for the study of a theatrical career that spans almost fifty years, the Companion pays fresh attention to Churchill's poetic precision, dark wit and inexhaustible creativity.
The Theatre of Caryl Churchill documents and analyses the major plays and productions of one of Britain's greatest and most innovative playwrights. Drawing on hundreds of never-before-seen archival sources from the US and the UK, it provides an essential guide to Churchill's groundbreaking work for students and theatregoers. Each chapter illuminates connections across plays and explores major scripts alongside unpublished and unfinished projects. Each considers the rehearsal room, the stage, and the printed text. Each demonstrates how Churchill has pushed the boundaries of dramatic aesthetics while posing urgent political and theoretical questions. But since each maps Churchill's work in a different way, each deploys a different reading practice - for many approaches are necessary to characterise such a restlessly imaginative and prolific career. Through its five interlocking parts, The Theatre of Caryl Churchill tells a story about the playwright, her work, and its place in contemporary drama.
The Rebirth of Antisemitism in the 21st Century is about the rise of antizionism and antisemitism in the first two decades of the 21st century, with a focus on the UK. It is written by the activist-intellectuals, both Jewish and not, who led the opposition to the campaign for an academic boycott of Israel. Their experiences convinced them that the boycott movement, and the antizionism upon which it was based, was fuelled by, and in turn fuelled, antisemitism. The book shows how the level of hostility towards Israel exceeded the hostility which is levelled against other states. And it shows how the quality of that hostility tended to resonate with antisemitic tropes, images and emotions. Antizionism positioned Israel as symbolic of everything that good people oppose, it made Palestinians into an abstract symbol of the oppressed, and it positioned most Jews as saboteurs of social ‘progress’. The book shows how antisemitism broke into mainstream politics and how it contaminated the Labour Party as it made a bid for Downing Street. This book will be of interest to scholars and students researching antizionism, antisemitism and the Labour Party in the UK.
"The best theatrical read of the year." – British Theatre Guide A book of selected theatre reviews from 1992 to 2020 from one of the foremost authorities on British theatre. Each chapter starts with a brief commentary on the developments of that era and the social, political and cultural context within which British theatre was being produced. Key obituaries and letters in response to reviews written are also included, providing a rich collection of curated archival material. Following on from his first collection, One Night Stands, Michael Billington's chronicle offers a rich, authoritative insight into British theatre over the last 3 decades from his unique professional perspective. It begins with Tony Kushner's UK premiere of Angels in America at the National Theatre in 1992 and culminates with Inua Ellams's celebrated adaptation of Chekhov's Three Sisters at the same venue almost 30 years later. En route, we're exposed to the fallibility of theatre criticism through his much-regretted original criticism of Sarah Kane's Blasted and its role in identifying major talents at the first opportunity. Having recently retired from his 48-year position as the Guardian newspaper's drama critic during which time he wrote around 10,000 theatre reviews, Michael Billiington was Britain's longest-serving theatre critic. Through his work, he was present at an eye-watering number of premieres during this time and witnessed first-hand the exciting developments in British theatre over the past 30 years and the substantial pressures it faced - never more so than today.