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First published in 1964 by Little, Brown. First Elephant paperback with a new preface by the author.
In a new edition of this now-classic work, Robert Brustein argues that the roots of the modern theatre may be found in the soil of rebellion cultivated by eight outstanding playwrights: Ibsen, Strindberg, Chekhov, Shaw, Brecht, Pirandello, O'Neill, and Genet. Focusing on each of them in turn, Mr. Brustein considers the nature of their revolt, the methods employed in their plays, their influences on the modern drama, and the playwrights themselves. "One of the standard and decisive books on the modern theater.... It shows us the men behind the works,... what they wanted to write about and the private hell within each of them which led to the enduring works we continue to treasure."—New York Times Book Review. "The best single collection of essays I know of on modern drama... remarkably fine and sensitive pieces of criticism. "—Alvin,Kernan, Yale Review.
You are expected to behave... Use the right words Act appropriately Don't break the rules Just behave. This play is not well behaved. Alice Birch examines the language, behaviour and forces that shape women in the 21st century and asks what's stopping us from doing something truly radical to change them. Winner of the George Devine Award for Most Promising New Playwright 2014.
What is a political playwright? Does theatre have any direct effect on society? Why choose to work in a medium which speaks to so few? Is theatre itself facing oblivion? All frequent questions addressed to David Hare over the last thirty-five years, as his work has taken him from the travelling fringe to the National Theatre, from seasons on Broadway to performances in prisons, church halls and on bare floors. Since 1978, Hare has sought uniquely to address these and other questions in occasional lectures given both in Britain and abroad. Now, for the first time, these lectures are collected together with some of his more recent prose pieces about God, Iraq, Israel/Palestine and the privatisation of the railways. Bringing to the lectern the same wit, insight and gift for the essential for which his plays are known, Hare presents the distilled result of a lifetime's sustained thinking about art and politics. 'The foremost theatrical chronicler of contemporary British life.' New York Times 'Our best writer of contemporary drama.' Sunday Times
Wide-ranging, discerning essays and reviews in which Mr. Brustein finds that the theatre has been quietly reinventing the nature of its art.
It has been three years since the wars against Arminius and the Cherusci. Gaius Silius, Legate of the Twentieth Legion, is concerned that the barbarians-though shattered by the war-may be stirring once again. He also seeks to confirm the rumors regarding Arminius' death. What Silius does not realize is that there is a new threat to the Empire, but it does not come from beyond the frontier; it is coming from within, where a disenchanted nobleman looks to sow the seeds of rebellion in Gaul. Legionary Artorius has greatly matured during his five years in the legions. He has become stronger in mind; his body growing even more powerful. Like the rest of the Legion, he is unaware of the shadow growing well within the Empire's borders, where a disaffected nobleman seeks to betray the Emperor Tiberius. A shadow looms; one that looks to envelope the province of Gaul as well as the Rhine legions. The year is A.D. 20.
The manipulative-philanthropist ghost of a chairman's mother; a footless enchantress in Siberia who has mastered the art of lovemaking; Rita of the sexual politics lessons; the witchcraft-practising mother of a village prodigy who plots to ensnare the World's Richest Man; the trade union leader who wrung a promise of jeans and perfumed soap out of the factory bosses - these are but the supporting cast of the dystopian, compelling world that Revolt of the Fish Eaters brings alive. Set in a twilight zone of glass towers, elevators and late-stage capitalism, this is a collection of stories about the business world: recession-struck, and facing threats from rogue forces such as ghosts, lovers and communists.
Centered around the relationship between art and political transformation. From Charlottë Bronte and Virginia Woolf, to Marlene van Niekerk and William Kentridge, artists and intellectuals have tried to address the question: How to deal with the legacy of exclusion and oppression? Via substantive works of art, this book examines some of the answers that have emerged to this question, to show how art can put into motion something new and how it can transform social and cultural relations in a sustainable way. In this way, art can function as an effective form of cultural critique. In the course of this book, a range of artworks are examined, through a postcolonial and feminist lens, in which revolt—both as a theme and as a medium-specific technique or/as critique —is made visible. Time and time again, revolt takes the form of a slow and thorough working through of the position of the individual in relation to her history and her contemporary geopolitical circumstances. It thus becomes evident that renewal and transformation in art and society are most successful when they proceed according to the method of self-reflexive cultural critique; when they do not present themselves as revolution, radical breaks with the past, but rather as processes of revolt in which knowledge of the past is investigated, complemented, corrected, and bent to a new collective will.