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Jez Butterworth is the most critically acclaimed and commercially successful new British dramatist of the 21st century: his acclaimed play Jerusalem has had extended runs in the West End and on Broadway. This book is the first to examine Butterworth's writings for stage and film and to identify how and why his work appeals so widely and profoundly. It examines the way that he weaves suspenseful stories of eccentric outsiders, whose adventures echo widespread contemporary social anxieties, and involve surprising expressions of both violence and generosity. This book reveals how Butterworth unearths the strange forms of wildness and defiance lurking in the depths and at the edges of England: where unpredictable outbursts of humour highlight the intensity of life, and characters discover links between their haunting past and the uncertainties of the present, to create a meaningful future. Supplemented by essays from James D. Balestrieri and Elisabeth Angel-Perez, this is a clear and detailed source of reference for a new generation of theatre audiences, practitioners and directors who wish to explore the work of this seminal dramatist.
THE STORY: Silver Johnny is the new singing sensation, straight out of a low-life Soho clubland bar in 1958. His success could be the big break for two dead-end workers in the bar, if they play their cards right and trust the owner of the place to
Jez Butterworth is undoubtedly one of the most popular and commercially successful playwrights to have emerged in Britain in the early twenty-first century. This book, only the second so far to have been written on him, argues that the power of his most acclaimed work comes from a reinvigoration of traditional forms of tragedy expressed in a theatricalized working-class language. Butterworth’s most developed tragedies invoke myth and legend as a figurative resistance to the flat and crushing instrumentalism of contemporary British political and economic culture. In doing so they summon older, resonant narratives which are both popular and high-cultural in order to address present cultural crises in a language and in a form which possess wide appeal. Tracing the development of Butterworth’s work chronologically from Mojo (1995) to The Ferryman (2017), each chapter offers detailed critical readings of a single play, exploring how myth and legend become significant in a variety of ways to Butterworth’s presentation of cultural and personal crisis.
Jez Butterworth is the most critically acclaimed and commercially successful new British dramatist of the 21st century: his acclaimed play 'Jerusalem' has had extended runs in the West End and on Broadway. This book is the first to examine Butterworth's writings for stage and film and to identify how and why his work appeals so widely and profoundly.
Winner of Best Play, 2009 Evening Standard Awards, Best New Play, Critics Circle Awards, and Best New Play, Whatsonstage.com Awards.
First collection of plays by the author of Jerusalem and the award-winning Mojo.
Post-millennial writings function as a useful prism through which we can understand contemporary English culture and its compulsion to revisit the immediate past. The critical practice of hauntology turns to the past in order to make sense of the present, to understand how we got to this place and how to build a better future. Since the Year 2000, popular culture has been inundated with representations of those who occupy a space between being and non-being and defy ontological criteria. This Pivot explores a range of contemporary English literatures - from the poetry of Simon Armitage and the drama of Jez Butterworth, to the fiction of Zadie Smith and the stories of David Peace - that collectively unite to represent a twenty-first century world full of specters, reminiscence and representations of spectral encounters. These specters become visible and significant as they interact with a range of social, political and economic discourses that continue to speak to the contemporary period. The enduring fascination with the spectral offers valuable insights into a contemporary English culture in which spectral manifestations signal towards larger social anxieties as well as to specific historical events and recurrent cultural preoccupations. The specter confronts the contemporary with the necessity of participation, encouraging the realisation that we must engage with it in order to create meaning. Narrative agency is the primary motivating force of its return, and the repetition of the specter functions to highlight new meanings and perspectives. Harnessing hauntology as a lens through which to consider the specters haunting twenty-first century English writings, this Pivot examines the emergence of a vein of hauntological literature that profiles the pervasive presence of the past in our new millennium.
When the Jebusites built Jerusalem around 2000 BC, it seems improbable that they ever envisioned the impact this city would have on the history and destiny of the human race. Against its historic background, with ancient ramparts alongside souvenir boutiques, people of many races and ethnic origins all try to buy a few drops of water from the Jordan or an olive branch as a precious souvenir of this holy city. Bells toll from the Church of the Holy Sepulchre, while muezzins call for prayer in the Mosque of Omar and the Jewish faithful cry out at the Wailing Wall, in a blend of religious expression found nowhere else in the world.
Four full-length plays and two previously unpublished shorts from the multi-award-winning author of Jerusalem. Jez Butterworth burst onto the theatre scene aged twenty-five with Mojo, ‘one of the most dazzling Royal Court main stage debuts in years’ (Time Out). This first volume of his Collected Plays contains that play plus the three that followed, as well as two short one-person pieces published here for the first time – everything in fact that precedes Jerusalem, ‘unarguably one of the best dramas of the twenty-first century’ (Guardian). Plays One includes: Mojo The Night Heron The Winterling Leavings (previously unpublished) Parlour Song The Naked Eye (previously unpublished) Introducing the plays is an interview with Jez Butterworth specially conducted for this volume.
This book examines British playwrights' responses to the work of Shakespeare and his contemporaries since 1945, from Tom Stoppard's Rosencrantz and Guildenstern are Dead to Sarah Kane’s Blasted and Jez Butterworth’s Jerusalem. Using the work of Julie Sanders and others working in the fields of Adaptation Studies and intertextual criticism, it argues that this relatively neglected area of drama, widely considered to be adaptation, should instead be considered as appropriation - as work that often mounts challenges to the ideologies and orthodoxies within Elizabethan and Jacobean drama, and questions the legitimacy and cultural authority of Shakespeare’s legacy. The book discusses the work of Howard Barker, Peter Barnes, Edward Bond, Howard Brenton, David Edgar, Elaine Feinstein and the Women’s Theatre Group, David Greig, Sarah Kane, Dennis Kelly, Bernard Kopps, Charles Marowitz, Julia Pascal and Arnold Wesker.