Twenty-First Century Drama: What Happens Now by Siân Adiseshiah, Louise LePage

By Siân Adiseshiah, Louise LePage

Within this landmark assortment, unique voices from the sector of drama supply wealthy research of a variety of the main intriguing and memorable performs and productions of the twenty-first century. yet what makes the drama of the recent millenium so detailed? Which occasions, issues, shifts, and paradigms are marking its levels? Kaleidoscopic in scope, Twenty-First Century Drama: What occurs Now creates a extensive, carefully serious framework for forthcoming the drama of this era, together with its varieties, playwrights, businesses, associations, collaborative tasks, and administrators. the gathering has a intentionally British bent, interpreting verified playwrights – akin to Churchill, Brenton, and Hare – along a brand new iteration of writers – together with Stephens, Prebble, Kirkwood, Bartlett, and Kelly. at the same time overseas in scope, it engages with major new paintings from the U.S., Japan, India, Australia, and the Netherlands, to mirror a twenty-first century context that's essentially globalized. The volume’s principal topics – the monetary obstacle, austerity, weather switch, new varieties of man or woman, migration, classification, race and gender, cultural politics and problems with nationhood – are mediated via clean, state of the art perspectives.

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Hence, perceived as old-fashioned and diminished in its potential to inspire ‘critical action’, realism has been largely ‘under-studied’ and cast as the understudy to experimental forms as the preferred object of critical enquiry. Moreover, it is also unquestionably the case that feminist objections to realism, which have been vocal since the 1980s wave of feminism and theatre scholarship, have contributed to realism’s critical fall from favour. Such objections (including, it has to be said, my own) were rooted in the way in which the perceived formal and ideological apparatus of the bourgeois-realist tradition othered women in its grand narrative of patriarchal interests and concerns.

It would be erroneous to suppose, however, that the objections to realism Bowlby elucidates and contests are a new, twenty-firstcentury phenomenon, at least as far as theatre is concerned.  337). At the turn of this century, it has been the relentless quest for new writers and new plays that has occasioned a renewed perception of the naturalist/realist tradition1 as ‘boring’; by definition ‘the holy grail’ of new writing now means ‘a play which is E. Aston () Lancaster Institute for the Contemporary Arts, Lancaster University, Lancaster, UK © The Editor(s) (if applicable) and The Author(s) 2016 S.

Harvie, Jen (2013) Fair Play: Art, Performance and Neoliberalism (Basingstoke: Palgrave Macmillan). com/london/theatre/lucy-kirkwood-interview-i-worry-a-lot-about-the-things-i-write. html. Kirkwood, Lucy (2012) NSFW (London: Nick Hern). Lacey, Stephen (1995) British Realist Theatre: The New Wave in its Context 1956– 1965 (London: Routledge). Little, Ruth and Emily McLaughlin (2007) The Royal Court Theatre Inside Out (London: Oberon). McRobbie, Angela (2009) The Aftermath of Feminism: Gender, Culture and Social Change (London: Sage).

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