Contemporary British Drama, 1970–90: Essays from Modern by Hersh Zeifman, Cynthia Zimmerman PDF

By Hersh Zeifman, Cynthia Zimmerman

ISBN-10: 1349108197

ISBN-13: 9781349108190

ISBN-10: 1349108219

ISBN-13: 9781349108213

This publication focuses completely at the fascinating and provocative performs produced in England within the final 20 years. the first objective of the gathering is to have a good time the really awesome variety of British drama on account that 1970, through analyzing the paintings of fourteen very important and consultant playwrights. This emphasis on variety applies not just to the dramatists selected for inclusion yet to the critics in addition - in particular to the variety of severe method verified of their essays.

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Extra resources for Contemporary British Drama, 1970–90: Essays from Modern Drama

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And although Betrayal reads at times like a filmscript, its real originality lies in the way it adapts certain cinematic strategies and makes them functional in terms of theater. Betrayal makes us concerned with the unities and disunities of time, with deception and self-deception, with the past in the present and the present in the past. In order to make these themes work on stage, the play must abandon realism's literal conformity to chronological time for the more representative patterning of temporality normally associated with cinematography and film-editing.

EMMA JERRY EMMA JERRY EMMA JERRY As in Old Times (and in this respect Betrayal is, as Emma says, "Just like old times" [p. 12]), the past is what these characters need or want it to be in a present situation. Taking a good, hard look, an "objective" camera eye, the perspective Pinter has chosen to give us in Betrayal, will never make the same mistake, for its concern is with an entirely different level of ambiguity. ); the references to Spinks's novel, whose subject, incidentally, is "betrayal"; the trysts and telephone calls involving Casey, the writer-client now called Roger, who has left Susannah and moved conveniently to another part of town; Jerry's lunches with Robert; the impossibility Enoch Brater 39 of setting a date for a game of squash; Jerry's drinking problem and his business trips to America; Emma's work at the Gallery; Ned's problem with sleeping and ours with his paternity; the schooldays back at Oxford and Cambridge with impassioned letters about Yeats and Ford Madox Ford; the trips to Venice and Yeats again on Torcello.

Throughout the closing minutes of the game/play, Kate is totally immune; Anna and Deeley are left with the sole alternative of battling each other, while simultaneously avoiding attacks by Kate. The point is that Old Times is Kate's play, and while she has only 184 lines in it (compared to 430 for Deeley and 341 for Anna), it is what goes on between those lines that matters. This "meaning" was made explicit by the use of a theatre game to explore the text, and what emerged from the exploration was not a matter of "subtext," or of filling in the interlinear spaces, but of a theatrical sensitivity which informs Pinter's play and which operates as powerfully in it as the dramatic fiction which is its surface.

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Contemporary British Drama, 1970–90: Essays from Modern Drama by Hersh Zeifman, Cynthia Zimmerman


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