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Agamemnon must sacrifice his daughter, Clytemnestra must try to stop him, Iphigenia must accept her fate, the Chorus must watch. Ships lie dormant in harbours, and thousands of troops sit on the shore, growing restless and unruly. Helen is gone, and pursuit of her has been stalled by windless seas. To raise the winds to send his fleet to Troy, Agamemnon is commanded by the gods to sacrifice his daughter, Iphigenia. But his deceit of his wife, Clytemnestra and the killing of his child, will end up tearing him and everything around him to pieces. Euripides’ story of a father moved to murder his daughter, Iphigenia at Aulis, is one that has been reinvented and retold anew throughout history. The Iphigenia Quartet sees four of the UK’s most exciting and radical playwrights - Caroline Bird, Suhayla El Bushra, Lulu Raczka, and Chris Thorpe – create explosive responses to this classical tragedy. Each play is a reimagining this story of familial catastrophe from the differing perspectives of the key characters in the play: Agamemnon, Clytemnestra, Iphigenia and the Chorus.
Eddie and Carol were lovers once, but their lives went in different directions. Now they meet again on a park bench in a town full of memories, and find something still burns between them. Critics Circle and Offwestend Award-winning playwright and novelist Barney Norris has been heralded as 'one of our most exciting young writers' (Times), 'a rare and precious talent' (Evening Standard), 'a writer of grace and luminosity' (Stage) who is 'fast turning into the quiet voice of Britain' (British Theatre Guide).
Shows how contemporary adaptations, on the stage and on the page, can breathe new life into Greek tragedy.
This book examines the radical reinterpretation of precursor texts and prompts as an innovative form of adaptation for the stage. In this context, stage adaptations are defined as active and risk-taking interventions on pre-existing sources, dramatic and otherwise, that can range from single-authored plays to collaborative creations and devising projects. Radical adaptations have the potential to constitute a cutting edge pathway of exploration in performance, by virtue of operating at the intersection between experimental practice and multiple creative transpositions and crossovers among genres and media. They offer a viable platform for the negotiation of topical concerns embedded into global cultural, socio-political and historical shifts, thus cultivating a genuine bond between theatre and society. This volume considers a range of case studies, from the work of Alexandru Tocilescu to Rimini Protokoll, and is vital reading for those interested in adaptation studies and forms of contemporary theatre practice.
“It's not always children's stories that happen to children.” When the men come to drive her away, Youmna cuts off Nour's hair. And so begins one girl's journey. By bus, by lorry, into the sound of gun-shots, through adolescence and across borders. The UK premiere of Estelle Savasta's critically acclaimed French play Traversée, Going Through is a bold play about the realities of child migration, combining English, BSL and Creative Captioning.
You've got to learn how to keep it inside. We have to. The world doesn't like us acting out. They'll put you down any chance they get. You can't be doing all this screaming. As siblings Shirley and Dwight bury their mother, they remember their upbringing in 1980s Chapeltown Leeds differently. In the height of racial discrimination, police brutality and poverty, the struggle for survival ripped through their family. Now as adults, they need to bring together the fractured pieces of their past in order to move forward. Zodwa Nyoni's gripping and heartfelt drama explores the complexities and beauty of what it really means to care for one another.
Elodie is 17. She’s French. She washes her legs before going to church. She believes in God. Otto is 15. He’s a German soldier. Bulletproof skin. Eyes that could pierce tanks. He was part of a firing squad today. It’s 1944. Outside, the world around them is exploding. Inside, the room shakes. Elodie and Otto’s naked bodies touch.
Apparently, back in the day us McClouds used to be the Thanes of Queensferry, before all that shit got stamped out by the English . . . We've got Royal Blood in us he says, and he says when we eventually realise we should've voted Yes not No Dad's gonna rise up to be Thane of Queensferry once more. Pop Sheeran, proudly shouldering the family trade of restoring the Forth Bridge, is about to lose it all. A global corporation has bought this Scottish icon, bringing with them innovative new paint. How will Pop fight back when he realises he's painting himself out of a job? Diary of a Madman is a sharply political, witty new adaptation of Gogol's classic story, reimagined in a contemporary Scotland on the brink of voting for independence. The play received its world premiere at the Traverse Theatre, Edinburgh, on 5 August 2016 before opening at the Gate Theatre, London, in September 2016.
I want, one more time, to be absolutely in the moment . . . I am going to try as hard as I can to not be a human being. A series of suggestions on desire, death and time. Nuclear War is the searing result of a groundbreaking and form-defying collaboration between Simon Stephens and the choreographer and movement director Imogen Knight, developed by Actors Touring Company. Introduced by the author, this edition also features a suite of lyrics written by Simon Stephens for a musical collaboration with Dutch singer-songwriter Wende Snijders, performed at Schouwburg Het Park in Westerdijk, The Netherlands, in March 2017. Nuclear War was published to coincide with the world premiere of the play at the Royal Court Theatre, Upstairs, London, in April 2017.
Respect women, respect girls. Respect yourselves. Remember you are everyone who's gone before you and you are nobody that has ever been, so make it count, make it special, make a difference, make people listen, love the women who have loved you and watch us make the world move to a better place. For Layla, every day is a battleground. The pay gap, the thigh gap, over-sexed pop and selfies that are photoshopped – they're just part of the world she lives in. But that world is about to change. While breaking out of her bedroom – and with drama, comedy, poetry and music as her weapons – Layla breaks down and makes sense of the realities, difficulties and absurdities of teenage life in the UK today. Collected from a bespoke national survey, the voices of a thousand UK teens are brought to life in Layla. Their ambitions, concerns, role-models and regrets are woven together by award-winning Sabrina Mahfouz and theatre company Theatre Centre, offering a hard-hitting, yet hopeful, story. Layla's Room received its world premiere at Redbridge Drama Centre on 15 September 2016 in a production by Theatre Centre. It is ideal for students and young performers between 16 and 18 years old.