British theatre

Critiques theâtrale de The Cane by Mark Ravenhil, directed by Vicky Featherstone (6 December 2018–26 January 2019, Royal Court Jerwood Theatre Downstairs–London) et A Very Very Very Dark Matter by Martin McDonagh directed by Matthew Dunster (12 October 2018-6 January 2019, The Bridge Theatre–London).

D. H. Lawrence trajedi kavramına olumlu olarak yaklaşır ve yıkıcı ve olumsuz bakışı eleştirir. Lawrence trajedinin maddeci bir varoluş içinde insan ruhunun yeniden doğuşunu sağlamak için çabalayan dirençli, yaratıcı irade yoluyla üstesinden gelinebileceğini düşünür. Lawrence modernizmin trajedisini, emekle sermayenin, eskiyle yeninin, cinsiyetlerin çatışması ile aşk, sanayileşme ve savaşın trajedileri gibi içiçe girmiş birçok çatışma türünü irdeleyerek dramatize eder. Ancak, her bir çatışma türünde onun modernliğin trajedisine olumlu bakışı gözlemlenebilir. Lawrence'ın toplumda ütopyacı bir reformasyon isteğini modernist trajediye bir çare olarak sunduğu öne sürülebilir. Touch and Go oyunu Lawrence'ın trajediye tepkisini/direncini yaratıcı ve dışavurumcu bir biçimde açıklar. Bu makale Touch and Go oyununun Lawrence'ın modernizmin ve sanayileşmenin “meçhul” durumuna dışavurumcu direniş yoluyla meydan okuma düşüncesini açıkladığını ileri sürer. Oyun, Lawrence'ın “karma...

Tra l'esperienza creativa di Pete Townshend con la sua band The Who e il breve, ma intenso exploit drammaturgico di Sarah Kane intercorrono quasi trent'anni e un'intera generazione di cambiamenti sociali, economici, culturali. A parte la provenienza londinese (lui di Chiswick, zona Ovest della città, lei di Brentwood, comune orientale della grande area metropolitana di Londra), non mostrano avere evidenti tratti in comune. Anche la critica non sembra avere mai posto la produzione dei due autori a confronto, eppure una serie di suggestioni nella lettura di pièce della Kane come Dannati e Psicosi delle 4.48 mi hanno portato immediatamente alla mente stralci e immagini provenienti dalla produzione musicale di Townshend & co. , in particolar modo dai due concept album della band, Tommy (1969) e Quadrophenia (1973). Assecondando queste suggestioni, ho riscontrato un certa corrispondenza tra queste opere, anche se formalmente espressioni artistiche così diverse tra loro, ritracciando una comunanza di alcuni nuclei tematici, con una similare tendenza nella rappresentazione della violenza, della malattia mentale, dei traumi alla radice della poetica di Townshend e Kane.

The purpose of this work is to analyse Joe Orton's play What the Butler Saw as a representation of political comedy in the postwar British theatre. The play gains its political attitude by blending the qualities of comedy of manners and farce. In the play, Orton questions the system in two ways. First he removes the line between sanity and madness; thus subverts the authority of the psychiatrists and their methods. He also implies that the mental hospital is a microcosm of the British society, or by extension, the modern world in which all the institutions are inoperative. Secondly, he foregrounds sexuality and the blurring line between the sexes and sexual identities. Furthermore, he calls the essential definitions of the traditional concepts of family and home into question. By subverting both genres, he presents his political standpoint with controversial subject matters like sexual orientation, adultery, and incest. Therefore he aims to alter the public opinion, to offer new ways of perception as well as to create awareness and sensibility for social and political problems. This article intends to delineate the mentioned political qualities by analysing the play from a critical perspective.

T his article explor es r elations among three different eighteenth-century domains. The first I will call "the audible"; the second covers government censorship and the political structure underpinning it; and the third is literary culture. More specifically, I will examine the final phase of Henry Fielding's theatrical career as a key moment for literary culture's response to new governmental attempts to control audibility. My analysis will place Fielding's 1736-37 Haymarket stage sensation Pasquin: A Dramatick Satire on the Times alongside his little-known "Mum Budget" letter, an anonymous and ironical celebration of silence, published in the wake of the Walpole government's stage Licensing Act of 1737, which effectively closed down the Haymarket and other illegitimate theaters. Pasquin and "Mum Budget" belong to a short era of irregular eighteenth-century stage comedy in which irreverent humor and formal experiment were bound not just to cultural critique and political satire but also, and self-consciously, to audibility. Finally, so as to set my argument about literature, politics, and a regime of the audible into a context broad enough fully to suggest its possibilities, I will conclude by gesturing to William Wordsworth's innovative concept of sound, a concept that was also, arguably, a poetic practice. But why "the audible" precisely? The answer is because it is a very general notion that covers a set of subcategories whose relations are not fixed but, rather, are continually readjusted historically in response to shifting social forces. In fact, these subcategories are not distinct from one another, even if they do not neatly fold into one another either. For my interests, the most important such categories are sound, noise, music, voice, and speech. Of course, it might be said that all noise and all music are sounds. But not all sounds are noises or music, just as, for instance, all that is voiced is not spoken. This is particularly worth bearing in mind since one category of the

Though the principle of gender equality is enshrined in the constitution of India, though the women are provided equal rights that of men, though the women are allowed to get education, though the women are considered one of the most important asset for the nation but still the questions that remain unanswered are how far does it matches the reality? How far women and their interests are kept in mind? Are their emotions even considered emotions or just considered and ignored as mood swings. In this paper we will study about conflicts in relationships in respect with english literature and female perspective. We will study about how feminism is included or excluded in the works of literature. Feminism is about women getting equal rights and opportunities as men without spoiling or dominating the rights of men. But though there are so many measures taken to promote feminism in a positive way still we come across novels, poems, dramas and so that somehow creates false image of women and portrays women as an inferior character therefore we will study in detail the role of women in famous works of english literature mainly in the play Hayavadana by Girish Karnad and the play Twelfth Night by William Shakespeare. Hayavadana is a typical Indian play that hold various themes wherein we will be focusing on women as an object and Twelfth Night on the other hand is a western play, also having various themes but the key theme will be patriarchal dominance over female emotions leading to relationship conflicts. We are aiming to study that how sometimes literature set gender roles and promotes gender inequality and women inferiority. Ultimately this portrayal leads to certain other issues that women find offensive. It leads to self doubts and under confidence in women. As women are shown sensitive and powerless in the books of literature the society starts to accept her as inferior and dependent and this leads to conflicts and problems between women and society, women and family, the downfall and abuse in the relationship and so on

The rich tradition of the Indian theatre dates back atleast to 5000 years. The earliest book on dramaturgy NatyaSastrawas written by Bharataan Indian sage who unraveled the hidden connections between performance and religion, culture and mysticism. Also he spoke about the profound physical, metaphysical and spiritual affiliations embedded in this realm. Bharata in his NatyaSastra says that Gods are never so pleased on being worshipped with scents and garlands as they are delighted with the performance of drama. A host of playwrights who were primarily satisfied writing short-plays took to writing as it was meant for the purpose of reading. Their choice of writing was social themes with more preference, history next and at last allegory. It can be observed in a common glance that most of the playwrights were not serious enough to avail the source from the rich Sanskrit drama; probably they felt a new language had to find its roots from the native land. And so, Sri Aurobindo adopts the Elizabethan model, Kailasam had a strong interest in fashioning his play in the Shakespearean mould, BharathiSarabai was influenced by Yeats and many followed neither The East nor The West, but had their own way in the making of a play. Some had the interest to draw the source from ancient myths and legends.

There is something about 'Europe' which we don't decide, something which, by the way, no one has decided, something that, by contrast, one needs to be capable of welcoming. 1 In the preface of the published text of Three Kingdoms (2011), 2 Simon Stephens describes his play as 'this exploration of Europe on its knees, this atrocity exhibition of postcolonialism'. 3 This article takes the playwright's description of his work as a starting point in order to explore the piece's-both the written text's and Nübling's production's-Europeanness. I approach this Europeanness in two, interrelated ways, which focus on the performance of the marginal, the Other within Europe: first, I discuss the piece's representation of what I term Europe's 'invisible Others', women exploited by a European network of sex trafficking. Following Sophie Nield's fascinating reading of the theatre stage as an 'alternative form of border space', 4 where appearance, identity and representation intersect, I ask what happens when what appears onstage is an identity that in real life remains invisible, seen but not apprehended? How did the stage appearance of displaced Others work on audiences in a production that was described 'more as a series of feelings than thoughts'? 5 I attempt to understand the politics of representation of this marginal Other in Three Kingdoms by bringing Stephens's work in dialogue with literature on the construction of post-imperial, post-colonial, 'expanded' New Europe.

Thesis supervised by Laura Engel Actress studies has become "a truly interdisciplinary field" that "intersect[s] with art, music, literature, history, economics, psychology, anthropology, sociology, and fashion" (Engel 752). While much scholarship has been conducted on the actress' life, interaction with material culture, public spectacle, authority, femininity, and writings, the role of an actress' education in her success has yet to be explored adequately or examined beyond biography. My project seeks to examine the educational beginnings of actresses and I assert there are three modes of education that eighteenth-century actresses often undertook. This project examines the advantages an actress gained through her theatrical education, which participates in the conversation of "thinking about the complexities of actress' experiences and the variety of strategies they employ to manage their personal and professional lives" (Engel 756).

For many reasons, it is true that the Protestant Reformation unleashed the forces that lay behind the emergence of capitalism. Such a system was compatible with the emancipation of individuals, their mentalities, due to specific societal reforms and transformations. Therefore, it gave birth, in an unprecedented way, to a “new form of capitalism”. But the main idea I want to stress in this article is that the capitalist ethos was present before the Reformation, many centuries ago, in what is called now the “Christian spirit”. In this direction, I emphasize many theories which disagree with the Weber’s well-known thesis about the relation between capitalism and religion, especially when it comes to generalize a particular result that is both theologically vague and empirically disprovable.

This study highlights new tendencies in the contemporary theatre of Ravenhill's distinctive plays, which apply postdramatic aspects of time, space, body and media related to Hans Thies Lehmann's work, Postdramatic Theatre (2006). Introducing the aspects of postdramatic theatre, this paper examines how Mark Ravenhill's plays can be adopted to postdramatic conditions in contemporary theatre and how these aspects create time inconsistency, unspecified space, active bodies and mediatized culture. Considering these aspects, this paper analyses Mark Ravenhill's plays Faust is Dead (1997) and Pool (No Water) (2006) to show how these aspects change the form and understanding of the plays. A detailed analysis, especially using postdramatic aspects of body and media, about Faust is Dead and Pool (No Water) is carried out in this paper. This analysis opposes traditional aspects in dramatic theatre of the use of non dramatical texts, performance, active body and spectators. With these distinctive plays Mark Ravenhill deconstructs conventional rules, text, language and characters.

Girish Karnad has given the traditional tale a new meaning and significance highly relevant in the context of life today. He seems to have used myth with a view to expose the absurdity of life with all its elemental passions and conflicts, and also to show man’s eternal struggle to achieve perfection. Karnad, in his plays, tries to evolve a symbolic form out of tension between the archetypal and mythic experience and a living response to life and its values. The new dimension and changes that Girish Karnad gives to a play, present an alternate world with incomplete beings, magnanimous gods and at times, they turn indifferent, dolls that speak more eloquently than humans, children who are morose and people having excessive longings, frustrations, ecstasies and miseries.

and a Ph.D candidate at Royal Central School of Speech & Drama, her research centres around curatorial and developmental dramaturgy in practice at mainstream theatres in Britain. Her work explores the labour of playmaking and the political frameworks in which theatrical processes operate.

Indian English Writing witnesses host of prolific writers who made efforts to emancipate and ameliorate the conditions of subalterns, particularly women. Several aspects of feminism can be seen in these plays with women as subalterns. Today subalterns acquired a new meaning. The subalterns have become the focus of various English plays written by Indian writers and Girish Karnad evolved as a major writer who emulsified various aspects of Subaltern Literature. This article magnifies contemporary society as displayed in the novels of Girish Karnad with special reference to Yayati,Tuglaq, Hayavadana and Naga-Mandal: A Play with a Cobra which deals with gender bias of women's subjection in an orthodox, male dominated Indian society.

This book is a complete and comprehensive projection of John Whiting as an absurdist playwright. It is a round and unvarnished story of a prodigious playwright who within a short span of his life, did much to outshine his contemporaries. His journey was not limited to stage and theatre. He also wrote for the films, television and even radio. The journey began with The Conditions of Agreement in 1946 and ended with The Devils in 1961. In between he wrote many landmark plays through which one can trace the evolutionary trajectory of a legend in the making who was a confluence of mind and mystery, love and revenge, sentimentality and blood lust. His plays are replete with sin and sleaze, callousness and collusion. This was because in Whiting, one also comes across the diminution of norms owning to ethical elasticity and dispensability of principles. In his plays the pathology of power is matched by the ethos of human failings as is exemplified by the rise and fall of Grandier in The Devils. Here the banality of power fails to keep distance between pretense and principles. Bereft of the romance of renewal and predictability, many of his plays end up on disjointed note in the best tradition of the theatre of the absurd. The playwright's obsession with pre-mediated violence creates a disconnect between storyline and characterization. In practically every one of his plays, Whiting creates a heady cocktail of fear, violence, loathing and paranoia and yet they make for a compelling reading. This book is a summary of my findings regarding John Whiting with terse comments on his qualities as an absurdist playwright. It has been my endeavor to assess him both as a literary figure and a playwright, wedded to the absurdist tradition. Since he was an absurdist playwright, it was natural that his plays lacked a coherent storyline, ended in confusion and suspense continued even after the play was over. In his play diverse characters operate in a tense atmosphere, benumbed by unexplained intensification of a near crisis situation, followed by the rejection of narrative continuity. Whiting has a strange phantasmagoric quality which produces dread and deception and his narratives remained soaked in violence and destruction, making death as the motif. Death in Whiting is unforeseen but chilling. None visualized that Jacob in No Why would end his life by committing suicide, or Rupert Forster in The Marching Song would swallow poison to end his life after a lot of prevarication. The killing of Stella and Paul Southman was equally unexpected. The killing of Grandier on flimsy evidence is death by conspiracy. The guilt or taint of death is both involuntary and ubiquitous. Whiting infuses in his plays the disquieting awareness of life drenched in involuntary violence. In Whiting, one comes across the anguish of freedom. It is freedom not only from inner chains but also from external boundaries. His ideas are novel and original. For him existence preceded essence. Freedom itself is an existential issue. Whiting's play embodies the existential conundrum of its main characters such as Forster, Jacob and Grandier. Freedom is an unmixed phenomenon. One cannot be sometimes free and sometimes bound in chains. Freedom is a holistic concept and cannot be enjoyed in parts. One is either entirely or always free. Whitings dwells upon the essential meaningfulness of freedom in human society but rues that true freedom is enjoyed only by the atheists because they are free from the captivity of God. Whiting's characters face the anguish of freedom which is mired in guilt and self-destruction as in the case of Rupert Forster who in the Marching Song is released from imprisonment only to face fresh trial. Dark comedy has a visible effect on some of Whiting's plays such as the Marching Song, No Why and The Devils. In these plays one finds cruelty concealed in comedy. Whiting's dark comedy is a study of assimilation of both comedy and tragedy which is enough to showcase the absurdity of human existence through disjointed dialogues and purposeless sequences. It rests on a sense of incongruity resulting in an interrelationship between scenes of hilarity and agony. The important thing is that his comedies are inoffensive and yet they display the dark shadows of a harsh fate. The dialogues and other linguistic devices employed by Whiting create an abiding dramatic effect. His dialogues are simple and straightforward. Whiting's plays are truly absurdist in content and style. Whiting deviated from the style of traditional drama which was more stereotyped than original. His drama was heterogeneous, earthy and fanciful which displayed indeterminacy and uncertainty and ended abruptly. He avoided patterned presentation of the traditional school and adopted the absurdist line of abruptness and unpredictability. Whiting also employed the devices of signs and sound to prove his point that language was half way between gesture and thought. This has been called wordless drama by Andrew K. Kennedy. Coming to statecraft, Whiting creates poetic images to show his horror for the prevailing poor human conditions. He uses the language of signs, not words. Terror and cruelty lie at the root of every spectacular scene in the plays of Whiting. His characters are sensitive and easily change to suit the situation in which they are trapped. He draws his characters from life to make them look natural and real. He is down to earth in every sense of the term.
Dr. Apeksha

These graceful fashions of early Georgian days are far removed from the most elegantly draped dresses of the twentieth century…[therefore] it is... almost impossible... that any serious attempt can be made to revive dresses of the early Georgian period without at the ...

published The Art of the Theatre in the summer of 1905. The book had been already published in Germany in June with the title Die Kunst des Theatres (edited and translated by Maurice Magnus, preface by Harry Kessler, Berlin and Leipzig, Seeman); the English edition (Edinburgh and London, Foulis) was published immediately after with an introduction by Craig himself and a preface by Graham Robertson. A Dutch edition followed in 1906, De kunst van het theatre (Amsterdam, S. L. Van Looy) with introductions by De Vos, Van Looy and Bauer, and then a non-authorized Russian edition. In 1911, the book became a section of the more extensive On the Art of the Theatre (London, Heinemann, 1911). First dialogue was added to the title of the section to distinguish it from another dialog found in the book, whose protagonists are the same, a director and a spectator, but whose subjects are different, resulting in a diptych of extraordinary importance. 1 The year of publication of The Art of the Theatre is significant, as we shall see, both for Craig's personal history and for the history of European theatre on which Craig's theories had an extraordinary impact, significantly shaping its future evolution. To cite only two events, 1905 was the year of Max Reinhardt's version of A Midsummer's Night Dream, and, in the same year, Stanislavski invited Meyerhold to direct the first of the studios that were to accompany the activity of the Moscow Art Theatre. Two very different events, but together they give a sense of the ferment that pervaded the European scene. Reinhardt's Dream sanctioned directing as an inventive and creative art and established the director's theatre as a feasible productive and artistic system while Meyerhold's workshop instead, was a sign of the need of the theatre to

T his article explor es r elations among three different eighteenth-century domains. The first I will call "the audible"; the second covers government censorship and the political structure underpinning it; and the third is literary culture. More specifically, I will examine the final phase of Henry Fielding's theatrical career as a key moment for literary culture's response to new governmental attempts to control audibility. My analysis will place Fielding's 1736-37 Haymarket stage sensation Pasquin: A Dramatick Satire on the Times alongside his little-known "Mum Budget" letter, an anonymous and ironical celebration of silence, published in the wake of the Walpole government's stage Licensing Act of 1737, which effectively closed down the Haymarket and other illegitimate theaters. Pasquin and "Mum Budget" belong to a short era of irregular eighteenth-century stage comedy in which irreverent humor and formal experiment were bound not just to cultural critique and political satire but also, and self-consciously, to audibility. Finally, so as to set my argument about literature, politics, and a regime of the audible into a context broad enough fully to suggest its possibilities, I will conclude by gesturing to William Wordsworth's innovative concept of sound, a concept that was also, arguably, a poetic practice. But why "the audible" precisely? The answer is because it is a very general notion that covers a set of subcategories whose relations are not fixed but, rather, are continually readjusted historically in response to shifting social forces. In fact, these subcategories are not distinct from one another, even if they do not neatly fold into one another either. For my interests, the most important such categories are sound, noise, music, voice, and speech. Of course, it might be said that all noise and all music are sounds. But not all sounds are noises or music, just as, for instance, all that is voiced is not spoken. This is particularly worth bearing in mind since one category of the

1-This article is retrieved from a PhD dissertation. 2-There is no conflict of interest between the authors of the article. 3-In this article, there is no situation that requires the permission of the ethics committee and/or legal/special permission. 4-This article adheres to research and publication ethics. This article was checked by iThenticate. Similarity Index 17%

The twentieth century witnessed the death of at least 100 million people due to wars, genocides, and conflicts. Catastrophic and violent events that emerged in the last decades of the 20th century led to new trends in Britain, such as in-yer-face theatre. One of the forerunners of this movement, Mark Ravenhill, reflected the realities on stage to create a new awareness about the case of violence. In this respect, this study will attempt to demonstrate that the Foucauldian approach to violence did immensely affect the English drama of the time by apparently showing itself in Ravenhill’s Shopping and Fucking. This play was first performed on 26th September 1996 at the Royal Court Theatre. Together with the content, the title is enough to shock the public. The playwright is surely good at finding affective titles for his plays; however, this one affects the norms and values more than the others since the title of the play is printed with asterisks as Shopping and F***ing. Shortly, the aim of this article is to analyze the dynamism, changes, socio-political importance, and effects of violence in Ravenhill’s infamous play by taking power and family relations into consideration.

In this book, she deals with the violence types expressed in the British theatre in the second half of the twentieth century. The study contains nine plays by eight notable British playwrights. These plays are Look Back in Anger, The Birthday Party, Entertaining Mr Sloane, Saved, Vinegar Tom, Plenty, Blasted, Shopping and Fucking, and Cleansedin chronological order. Besides, some information about post-war British theatre and violence are presented in this work as well.

The fame great actors enjoy is more ephemeral than that of great poets and writers. Desley Deacon, a specialist in gender history, revives in this biography the fame and repute of a great star of US stage, film, television and radio, the now largely forgotten Judith Anderson. Born in Adelaide in 1897, Anderson migrated to the US shortly after the First World War and soon established herself as a premier performer of the stage, lauded as the equal and even superior of Olivier and Laughton. She was thought to have brought an Australian physicality to her roles but is now best remembered for her star turn as Mrs Danvers in Alfred Hitchcock's 1939 film "Rebecca". This biography charts a remarkable career in diverse media, studded with triumphs and inevitable lows. Valuable cultural history of the US, Australia and cross-cultural relations features.

This article attempts to discuss the reflections of Shakespeare’s tragic world view which is present even in his most mirthful and funniest comedies, such as Much Ado About Nothing. This attitude of the playwright will be examined with regard to the structural codification, which is based on binary oppositions. The play seems to be constructed on a highly contrived sign system which operates on very different scales of comparisons including the settings, the pairs of characters and the two subplots. This system makes it easier for the reader to get the deep meaning lying beneath the surface structure: many idealized values prove to be shallow or replaced. In this respect, no matter how much the play conforms to the mechanism of a comedy in Shakespearean sense in terms of its technical applications; as the events develop, the play reaches the threshold of being a problem play with its ending that stands out as problematic. While offering temporary solutions to the matters, the playwright prompts the reader to ask: How can we reconcile with that ending? Is this a really happy end? Thus, this paper not only explores the ways in which this laughing comedy is becoming a problem play but it also argues that Shakespeare’s writings blend the public issues of his time with that of the private, highlighting the notions of degeneration, superficiality and humanism.

"Materiały znajdujące się w niniejszej tece są zróżnicowane pod względem metod jak i celu, który mają pomóc realizować. Zdecydowaliśmy się bowiem przedstawić scenariusze, które pozwolą podjąć pracę z młodzieżą na czterech różnych – ale powiązanych ze sobą – polach interakcji społecznych. Łączy je natomiast jedno: wszystkie zostały opracowane z myślą o wspieraniu oraz budowaniu kul­tury dialogu i zrozumienia".

An examination of the relationship between theatre and film that focuses on the work of figures associated with the postwar British theatre but whose film work was often understood in terms of horror. In particular, it examines the ways in which their work was understood as shocking audiences through a confrontation with repressed materials and as narratively staging conflicts between protagonists that represent conflicting ideas. In other words, these stories were often understood as staging battles between characters that sought to assert domination and control over their adversaries, battles that often featured psychological cruelty and destructiveness.

Abstract
Thomas William Robertson (1829-1871), who is a Victorian playwright, made use of melodramatic techniques in his plays just like his contemporaries. The basic aim in melodramatic plays, which are marked by a tight plot structure, exaggerated characters and sensational events, is undoubtedly to move audience members emotionally. As an inevitable result of this aim, most playwrights attempted to make audiences be affected by the events in the play rather than showing an effort to reflect the realities of their time. Although in his plays Robertson embraced most of the techniques mentioned, he possessed a significant characteristic which differentiated him from most of his contemporaries; Robertson went beyond his time’s dramatic conventions and added realist and naturalist elements in his plays. In this respect, it can be said that Robertson’s plays carried the quality of being a bridge between Victorian theatre and realist theatre. The aim of this study is to investigate Robertson’s theatre career and the novelties he brought to Victorian theatre and to show how and to what extent he succeeded in being a precursor of British Realist Theatre in his play Caste written by the playwright in 1861.
Keywords: T. W. Robertson, Caste, Victorian theatre, melodramatic plays, British realist theatre

Why did marriage become central to the English novel in the eighteenth century? As clandestine weddings and the unruly culture that surrounded them began to threaten power and property, questions about where and how to marry became urgent matters of public debate. In 1753, in an unprecedented and controversial use of state power, Lord Chancellor Hardwicke mandated Anglican church weddings as marriage's only legal form. Resistance to his Marriage Act would fuel a new kind of realist marriage plot in England and help to produce political radicalism as we know it. Focussing on how major authors from Samuel Richardson to Jane Austen made church weddings a lynchpin of their fiction, The Origins of the English Marriage Plot offers a truly innovative account of the rise of the novel by telling the story of the English marriage plot's engagement with the most compelling political and social questions of its time.

This article explores relations among three different eighteenth-century domains. The first I will call “the audible”; the second covers government censorship and the political structure underpinning it; and the third is literary culture. More specifically, I will examine the final phase of Henry Fielding’s theatrical career as a key moment for literary culture’s response to new governmental attempts to control audibility. My analysis will place
Fielding’s 1736–37 Haymarket stage sensation Pasquin: A Dramatick Satire on the Times alongside his little-known “Mum Budget” letter, an anonymous and ironical celebration of silence, published in the wake of the Walpole government’s stage Licensing Act of 1737, which effectively closed down the Haymarket and other illegitimate theaters. Pasquin and “Mum Budget” belong to a short era of irregular eighteenth-century stage comedy in which irreverent humor and formal experiment were bound not just to cultural critique and political satire but also, and self-consciously, to audibility. Finally, so as to set my argument about literature, politics, and a regime of the audible into a context broad enough fully to suggest its possibilities, I will conclude by gesturing to William Wordsworth’s innovative concept of sound, a concept that was also, arguably, a poetic practice.

Exploring how literature represents social context, the present study aims to critically examine Mark Ravenhill's plays, Some Explicit Polaroids and Faust is Dead, in terms of Giddens' concepts of Globalization, Risk, and Transformation of Intimacy. The central argument of this analysis is thus to demonstrate how Ravenhill's plays represent the social changes of the contemporary era in which the plays have been produced. The study addresses the concepts of Globalization and Risk in the plays in order to illustrate how transformations brought by it affect individual's day-today life in contemporary society. Accordingly, the researcher thus focuses on the impacts of such transformations on the process of self-identity construction as well as the transformation of intimacy in that, as Giddens has contended, the characteristics of the globalized world deeply intrude into the heart of self-identity and reshape the way individuals build up their self-identities.

This dissertation focuses on the case study of the Theatres Trust, the national public advisory body for theatres in the UK.
It is written in collaboration with the Theatres Trust.
Reflecting upon its 40th anniversary, this niche study aims to constitute a pioneering academic research on the role, work and influence of this non-departmental advisory body since its inception in 1976.
As a statutory consultee, the Theatres Trust acts as a bridge between theatre operators and the worlds of planning, architecture and design.
This research paper provides a starting point of discussion for further potential research regarding a discreet public organisation aiming to protect theatre buildings and help British theatre to live and thrive.

As a result of many years of reading about and teaching Max Weber's famous Protestant Ethic thesis, I have developed an approach to covering this material in both my undergraduate and graduate theory courses which has been beneficial to students and has helped them make sense of the rather complex argument developed by Weber. I provide a working model of all such scholarly inquires geared off the Science Triad, culminating in a five-step approach to organizing and explaining the Weber thesis. In addition, I provide an annotated bibliography of selected scholarly ruminations on Weber's work in general and the Protestant Ethic thesis in particular.

Note: Please cite as: Chriss, James J. 2019. “Weber’s Protestant Ethic Thesis in Five Steps.” Academicus 20:51-65.

The careers of Haddon Chambers and Gilbert Murray, two Australian playwrights who often obliquely meditated on Australia and Australianness in their plays, raise important questions about negotiating Australianness through both their playwriting and their performances in everyday life. Although Australia was only rarely their ostensible subject, it permeated much of their London based theatre work.

The aim of this study is to examine the theme lack of belongingness in Tom Stoppard's play Rosencrantz and Guildenstern Died. The couple, who are deprived of even the core knowledge like their own identity, cannot find a reason to hold on to life. Because they do not live in a world they have sense of belongingness. They are constantly struggle to understand what happens around them. In everything they are told, they try to find other meanings than what is said. Since the truth is not true for them. Eventually, it is determined that in the deficiency of such a vital need the characters have no chance to escape apart from the idealization of death.

This paper figures the new principle for British modern theatre in particular, in the frame of ‘post-traumatic’ history which will free all repressed traumas of history and community that is neglected by them, and be taken back to them with inherent violence of their images. Last decade of 20th century began with the harsh and brutal performances of the group of opposing young directors whom had a problem with their generation. Categorizing them in the same group, Aleks Sierz named them ‘in-yer-face theatre’. This much of violence on the stage exemplified deep traumas which were buried in the traumatic history. Sarah Kane one of the main figures of this group fulfilled the aim of political theatre by the process I borrowed from recent psychoanalytic researches. She wrote her fifth and last play, ‘4.48 psychoses’, just before her suicide in 1999. Mentioning reinterpretation of traumas after the mid 20th century, I focus on Judith Herman and Cathy Caruth’s surveys, as the members of PTSD (post-traumatic stress disorder) studies. This group has posed new definition for traumatic dreams and memories by devising the term ‘traumatic reenactment’. The victim who suffers from these kinds of dreams and memories is lack of drama. It seems part of him has died and everything has stood in that horrible moment which belongs to the past. In this sense, this singular possession by the past extends beyond the bounds of a marginal pathology and has become a central characteristic of the survivor experience of our time. Yet, what is particularly striking in this singular experience is that its insistent reenactments of the past do not simply serve as testimony to an event, but may also, paradoxically enough, bear witness to a past that was never fully experienced as it occurred. Curing these traumas, we both urgently demand historical experience. By reinterpretation of new tragedy in the frame of post-dramatic theatre we could access to a traumatic history. The relationship between community and individuals is inseparable and there will be the unity and tension simultaneously between them. By this relation the spectator acts as a witness and even victim since at the same time he was the observant of his own trauma and others too. So, the entire scene becomes traumatic reenactment of a singular traumatic event which has been fixed in the specific moment of past. By reenacting the past, each actor or spectator stays in the liminal state, as a ritual performance. This moment is the moment of pure consciousness. This will be happened by transgressing the boundaries between the Real and reality, as Jacque Lacan mentioned.  Thus, this will be the reborn of the new tragedy which is happened as a tension between two senses: terror/ need. As a result, in the explosion of the Real the missing memory is transformed to narrative language which moves both groups to the shared memory, and this is the aim of political theatre. ‘4.48 psychoses’ can be an appropriate scene for representing this kind of tragedy. 

Keywords: British theatre, tragedy, traumatic reenactment, Sarah Kane, 4.48 psychoses

The paper revolves around Anders Lustgaren’s play Lampedusa, performed at
Soho Theatre, London, in March 2015 and later on the Aldeburgh beach at High Tide
Festival in September 2015, when the migration crisis was at its peak together with the rise
of xenophobia and populism in Western countries. The play tackles issues such as mass
migration and financial crisis in Europe through the interwoven monologues of two
characters both representative of local and global contradictions: Stefano, a Sicilian
fisherman who lives in Lampedusa, and Denise, a white East Asian woman who collects
debts for a payday loan company. The paper offers a close reading of the ‘places’ and
‘spaces’ mentioned in the play suggesting how they contribute to map the ‘routes’ of global
crisis provoked by the politics of austerity and financial capitalism. It analyses the structure
of the play and the characterization of the two protagonists in order to unveil provocative
juxtapositions and frame the political engagement underlying Lustgarten’s new millennium
theatre. It contextualizes the play within the debates on global inequality and refers to
Ashcroft’s concept of ‘transnation’ as an interpretative key to the world of Lampedusa.