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Contractions: My Child, Contractions, Artefacts, Cock, Not Talking (Modern Plays)
by Mike BartlettContractions, a new play by Mike Bartlett, will be published to coincide with the production at the Royal Court Theatre, London, from 29 May - 14 June 2008.'Come in. Sit down. How are you?'Emma's been seeing Darren. She thinks she's in love. Her boss thinks she's in breach of contract. The situation needs to be resolved.An ink-black comedy about work and play, which invites the audience to a meeting at the centre of the Royal Court building.
Earthquakes in London (Modern Plays)
by Mike BartlettIt's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone.... You were the glimmer. At the end of the tunnel. And you went out.An all-pervasive fear of the future and a guilty pleasure in the excesses of the present drive Mike Bartlett's epic rollercoaster of a play from 1968 to 2525 and back again.Earthquakes in London includes burlesque strip shows, bad dreams, social breakdown, population explosion, worldwide paranoia. It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene.
Earthquakes in London (Modern Plays)
by Mike BartlettIt's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone.... You were the glimmer. At the end of the tunnel. And you went out.An all-pervasive fear of the future and a guilty pleasure in the excesses of the present drive Mike Bartlett's epic rollercoaster of a play from 1968 to 2525 and back again.Earthquakes in London includes burlesque strip shows, bad dreams, social breakdown, population explosion, worldwide paranoia. It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene.
Earthquakes in London (Student Editions)
by Mike BartlettIt's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone.... You were the glimmer. At the end of the tunnel. And you went out.Earthquakes in London is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe. The play deals, through amplified theatricality, with a range of contemporary issues from population growth to climate change.An all-pervasive fear of the future and a guilty pleasure in the excesses of the present drive Mike Bartlett's epic rollercoaster of a play from 1968 to 2525 and back again.Earthquakes in London first published in 2010 and has subsequently become a much-produced and widely studied drama text. It is published here as a Student Edition alongside commentary and notes by Bridget Escolme.The ancillary material is geared at students and includes:- an introduction outlining the play's plot, character, themes context and performance history- the full text of the play- a chronology of the playwright's life and work- extensive textual notes- questions for further study- an interview with the playwright
Earthquakes in London (Student Editions)
by Mike BartlettIt's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone.... You were the glimmer. At the end of the tunnel. And you went out.Earthquakes in London is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe. The play deals, through amplified theatricality, with a range of contemporary issues from population growth to climate change.An all-pervasive fear of the future and a guilty pleasure in the excesses of the present drive Mike Bartlett's epic rollercoaster of a play from 1968 to 2525 and back again.Earthquakes in London first published in 2010 and has subsequently become a much-produced and widely studied drama text. It is published here as a Student Edition alongside commentary and notes by Bridget Escolme.The ancillary material is geared at students and includes:- an introduction outlining the play's plot, character, themes context and performance history- the full text of the play- a chronology of the playwright's life and work- extensive textual notes- questions for further study- an interview with the playwright
Not Talking (Modern Plays)
by Mike BartlettIf I don't want to tell anyone, it's up to me, right?Lucy knows James has avoided the battle. Mark knows Amanda has fought for her life. But speaking the truth could bring everything crashing down.What happens if we live a life of not talking?Olivier award-winning writer Mike Bartlett's gripping and lyrical first play unlocks a culture of silence and gives voice to the human casualties when things are easier done than said. This edition was published to coincide with a new production at the Arcola Theatre and features an introduction by the author.
Not Talking: My Child, Contractions, Artefacts, Cock, Not Talking (Modern Plays)
by Mike BartlettIf I don't want to tell anyone, it's up to me, right?Lucy knows James has avoided the battle. Mark knows Amanda has fought for her life. But speaking the truth could bring everything crashing down.What happens if we live a life of not talking?Olivier award-winning writer Mike Bartlett's gripping and lyrical first play unlocks a culture of silence and gives voice to the human casualties when things are easier done than said. This edition was published to coincide with a new production at the Arcola Theatre and features an introduction by the author.
Love, Love, Love (Modern Classics)
by Mike Bartlett James Grieve1967. Kenneth and Sandra know the world is changing. And they want some of it.Love, Love, Love takes on the baby boomer generation as it retires, and finds it full of trouble. Smoking, drinking, affectionate and paranoid, one couple journeys forty-years from initial burst to full bloom. The play follows their idealistic teenage years in the 1960s to their stint as a married family unit before finally divorced and, although disintegrated, free from acrimony. Their children, on the other hand, bitterly rail against their parents' irresponsibility and their relaxed, laissez-faire attitude.This play by Olivier award-winning writer Mike Bartlett questions whether the baby boomer generation is to blame for the debt-ridden and adrift generation of their children, now adults but far from stable and settled.This edition features an introduction by James Grieve, who directed Love, Love, Love at the Royal Court, London.
Love, Love, Love (Modern Classics)
by Mike Bartlett James Grieve1967. Kenneth and Sandra know the world is changing. And they want some of it.Love, Love, Love takes on the baby boomer generation as it retires, and finds it full of trouble. Smoking, drinking, affectionate and paranoid, one couple journeys forty-years from initial burst to full bloom. The play follows their idealistic teenage years in the 1960s to their stint as a married family unit before finally divorced and, although disintegrated, free from acrimony. Their children, on the other hand, bitterly rail against their parents' irresponsibility and their relaxed, laissez-faire attitude. This play by Olivier award-winning writer Mike Bartlett questions whether the baby boomer generation is to blame for the debt-ridden and adrift generation of their children, now adults but far from stable and settled.
Cock (Modern Classics)
by Mike Bartlett Mark O'ThomasBut that's what this is, isn't it? The ultimate bitch fight.When John takes a break from his boyfriend, his accidentally meets the girl of his dreams. Filled with guilt and indecision, he decides there is only one way to straighten this out . . . Mike Bartlett's metrosexual play about love and longing provides us with questions of who we are and who we want to be. John's refusal to fix his identity disturbs and disrupts the lives of those around him in this contemporary tale of sex without nudity and struggle without violence. Mike Bartlett's punchy story takes a playful, candid look at one man's sexuality and the difficulties that arise when you realise you have a choice.Cock premiered at the Royal Court Theatre, London, on 13 November 2009.It is published here in the Modern Classics series, featuring an introduction by Mark O'Thomas.
Cock: My Child, Contractions, Artefacts, Cock, Not Talking (Modern Classics)
by Mike Bartlett Mark O'ThomasBut that's what this is, isn't it? The ultimate bitch fight.When John takes a break from his boyfriend, his accidentally meets the girl of his dreams. Filled with guilt and indecision, he decides there is only one way to straighten this out . . . Mike Bartlett's metrosexual play about love and longing provides us with questions of who we are and who we want to be. John's refusal to fix his identity disturbs and disrupts the lives of those around him in this contemporary tale of sex without nudity and struggle without violence. Mike Bartlett's punchy story takes a playful, candid look at one man's sexuality and the difficulties that arise when you realise you have a choice.Cock premiered at the Royal Court Theatre, London, on 13 November 2009.It is published here in the Modern Classics series, featuring an introduction by Mark O'Thomas.
Or You Could Kiss Me (Oberon Modern Plays)
by Neil BartlettIn the winter of 2036, in a shabby apartment in Port Elizabeth, two old men search for a way to say goodbye after a lifetime spent together. In the perfect summer of 1971, in a very different South Africa, their handsome younger selves search for the courage to fall in love. And poised halfway between these two stories – one imagined, one remembered – their real-life counterparts bear witness to both the beginning and ending of an incredible journey.Neil Bartlett returns to The National in collaboration with the award winning War Horse team to create an intimate history of two very private lives, lived in extraordinary times.
Queer Voices (Oberon Modern Plays)
by Neil BartlettAlthough his mainstream career has recently included major work for the RSC and the National, the five new pieces collected here show just how close playwright and director Neil Bartlett has stayed to the radical queer cultural roots that first brought him to prominence in the early 1980s. Commissioned to be performed in spaces as various as South London’s notorious Vauxhall Tavern, Brighton’s Theatre Royal and the pulpit of Westminster Abbey, these hit-and-run dramatic monologues bring all of his trademark wit and passion to bear on the issues that run throughout his work – the power of love, and the necessity for anger. Together, they make up a trenchantly personal take on what it feels like to have spent nearly thirty years standing up and speaking one’s mind.The collection also includes his 2011 adaptation of Oscar Wilde’s The Remarkable Rocket, which uses the diamond-sharp text of one of Wilde’s children’s stories as the springboard for a haunting meditation on the enduring power of Wilde to inspire, dazzle and move. A follow on from his earlier collection Solo Voices, this new collection is vivid, fierce and tender, with five provocative and highly actable new works from one of British theatre’s most idiosyncratic voices.www.neil-bartlett.com
Solo Voices: Monologues 1987-2004
by Neil BartlettCollected for the first time in print, over a decade of texts from one of British theatre’s fiercest and most individual voices, documenting the extraordinary site-specific solo performances which have run parallel to Bartlett’s acclaimed work as a mainstream director.Neil Bartlett was Artistic Director of the Lyric Theatre Hammersmith for a number of years. Many of his adaptations for the stage are published by Oberon Books, including Oliver Twist, The Prince of Homburg and Don Juan.
La Casa Azul: inspired by the writings of Frida Kahlo (Oberon Modern Plays)
by Neil Bartlett Sophie FaucherI took my tears and turned them into paintings' In the electric calm of a blue-painted room, a dying woman reassembles the images of an extraordinary life. The woman is Mexican painter Frida Kahlo. The life is one of struggle - with love, with the body, with her country, and most of all, with her art.La Casa Azul is a collaboration between Quebeçois playwright Sophie Faucher, who also played Frida Kahlo in this production, and internationally acclaimed director Robert Lepage.
The Threesome (Oberon Modern Plays)
by Neil Bartlett Eugène LabicheParis, 1870. Adultery ought to be a serious business… but it’s hard to keep your dignity when the cleaning lady has a fireman in your kitchen and she suspects that something is up. Not to mention the fact that your lover is not only stuck halfway up a drainpipe but is also your husband’s very best friend. And as for the blackmailing taxi driver - he knows everything!The Threesome is a feast of finely tuned extra-marital mayhem from the master of French farce. This version was produced at the Lyric, Hammersmith in March 2000.
The Dispute (Absolute Classics Ser.)
by Neil Bartlett Pierre De MarivauxWhat if four children had been kept locked away in darkness and complete isolation since birth? What if, tonight, they were to be released? How would bodies and minds reared in darkness respond to the first words, the first lies, the first kisses? What if you got to watch? Cruel, erotic and elegant by turn, The Dispute is rightly regarded as one of Marivaux’s masterpieces.
In Extremis (Oberon Modern Plays)
by Neil Neil BartlettOn the night of 24th March 1895, Mrs Robinson, a society palm-reader, agreed to see Oscar Wilde in her London flat. Wilde’s lover, Lord Alfred Douglas, ‘Bosie’, was urging him to sue the Marquis of Queensberry (Bosie’s father) for criminal libel. But Wilde’s friends, wary of Queensberry’s power, were warning him to leave town. In Extremis reveals the strange turmoil of that night, as a man at the height of his fame turns to a complete stranger for advice about a potentially life-changing decision. In Extremis was first presented in November 2000 at the National Theatre alongside De Profundis to mark the centenary of Oscar Wilde’s death.
The Island of Slaves (Absolute Classes Ser.)
by Neil Bartlett Pierre Carlet De Chamblain De MarivauxWhat will become of us? Four people, the sole survivors of a shipwreck, crawl out of the sea. Two of them are masters, and two of them are servants; and all four are about to discover what life feels like when the boot is on the other foot. Marivaux's potent mix of laughter, emotion and theatrical game-playing makes him one of the most surprising and most modern of all classic playwrights. Neil Bartlett has adapted this brilliant comedy of role-swapping and redemption, which premiered at the Lyric Hammersmith in April 2002.
Performing Welfare: Applied Theatre, Unemployment, and Economies of Participation (Contemporary Performance InterActions)
by Sarah BartleyThis book explores what happens to socially committed performance when state systems of social security are dismantled. Since 2010, a punishing programme of economic austerity and a seismic overhaul of the Welfare State in the United Kingdom has been accompanied by an ideological assault on dependency; a pervasive scapegoating of the poor, young, and disabled; and an intensification of the discursive relationship between morality and work. This book considers the artistic, material, and ideological consequences of such shifts for applied and socially engaged performance. Performing Welfare reveals how such arts practices might reconstitute notions of work and labour in socially constructive ways. It focuses on the political potential of participation during a period in which classifications of labour and productivity are intensely contested. It examines the migration of discourses from state policy to the cultural sector; narratives of community and aesthetics of dependency; the paradoxes of visibility in creative projects with stigmatised participants; the implicit relationship of participatory performance to neoliberal productivity; and, the parallels between gendered divisions of labour, social reproduction, and applied performance. It will appeal to students, scholars, and practitioners interested in applied and socially engaged performance, participation, community, representation, the welfare state, social policy, labour, and unemployment.
Marx and Freud: Great Shakespeareans: Volume X (Great Shakespeareans #Vol. 10)
by Crystal Bartolovich David Hillman Jean E. HowardThis volume looks at Marx and Freud, who, though not 'Shakespeareans' in the usual academic or theatrical sense, were both deeply informed by Shakespeare's writings, and have both had enormous influence on the understanding and reception of Shakespeare. The first section of this volume consists of a discussion of Marx's use of Shakespeare by Crystal Bartolovich followed by an essay on Shakespeareans' recent uses of Marx by Jean E. Howard. The volume's second half, written by David Hillman, juxtaposes a discussion of Freud's use of Shakespeare with a meditation on Shakespeare's 'use' of Freud. Each part can be read fruitfully independently of the others, but the sum is greater than the parts, offering an engagement with two of the most influential thinkers in Western modernity and their interchanges with, arguably, the most influential figure of early modernity: Shakespeare.
Marx and Freud: Great Shakespeareans: Volume X (Great Shakespeareans)
by Crystal Bartolovich David Hillman Jean E. HowardThis volume looks at Marx and Freud, who, though not 'Shakespeareans' in the usual academic or theatrical sense, were both deeply informed by Shakespeare's writings, and have both had enormous influence on the understanding and reception of Shakespeare. The first section of this volume consists of a discussion of Marx's use of Shakespeare by Crystal Bartolovich followed by an essay on Shakespeareans' recent uses of Marx by Jean E. Howard. The volume's second half, written by David Hillman, juxtaposes a discussion of Freud's use of Shakespeare with a meditation on Shakespeare's 'use' of Freud. Each part can be read fruitfully independently of the others, but the sum is greater than the parts, offering an engagement with two of the most influential thinkers in Western modernity and their interchanges with, arguably, the most influential figure of early modernity: Shakespeare.
Das Dokumentartheater (Sammlung Metzler)
by Brian BartonZwischen Fiktion und Faktografie. Die ästhetische Dimension des Dokumentarismus stellt Brain Barton am Beispiel der drei repräsentativen Dokumentar-Autoren Hochhuth, Kipphardt und Peter Weiss dar. Dabei liefert er einen materialreichen Abriss über die Geschichte des Dokumentartheaters von der Weimarer Republik bis zur Gegenwart.
Disability and Theatre: A Practical Manual for Inclusion in the Arts
by Stephanie Barton FarcasDisability and Theatre: A Practical Manual for Inclusion in the Arts is a step-by step manual on how to create inclusive theatre, including how and where to find actors, how to publicize productions, run rehearsals, act intricate scenes like fights and battles, work with unions, contracts, and agents, and deal with technical issues. This practical information was born from the author’s 16 years of running the first inclusive theatre company in New York City, and is applicable to any performance level: children’s theatre, community theatre, regional theatre, touring companies, Broadway, and academic theatre. This book features anecdotal case studies that emphasize problem solving, real-world application, and realistic action plans. A comprehensive Companion Website provides additional guidelines and hands-on worksheets.
Disability and Theatre: A Practical Manual for Inclusion in the Arts
by Stephanie Barton FarcasDisability and Theatre: A Practical Manual for Inclusion in the Arts is a step-by step manual on how to create inclusive theatre, including how and where to find actors, how to publicize productions, run rehearsals, act intricate scenes like fights and battles, work with unions, contracts, and agents, and deal with technical issues. This practical information was born from the author’s 16 years of running the first inclusive theatre company in New York City, and is applicable to any performance level: children’s theatre, community theatre, regional theatre, touring companies, Broadway, and academic theatre. This book features anecdotal case studies that emphasize problem solving, real-world application, and realistic action plans. A comprehensive Companion Website provides additional guidelines and hands-on worksheets.