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Contemporary Women Playwrights: Into the 21st Century

Breaking new ground in this century, this wide-ranging collection of essays is the first of its kind to address the work of contemporary international women playwrights. The book considers the work of established playwrights such as Caryl Churchill, Marie Clements, Lara Foot-Newton, Maria Irene Fornes, Sarah Kane, Lisa Kron, Young Jean Lee, Lynn Nottage, Suzan-Lori Parks, Djanet Sears, Caridad Svich, and Judith Thompson, but it also foregrounds important plays by many emerging writers. Divided into three sections-Histories, Conflicts, and Genres-the book explores such topics as the feminist history play, solo performance, transcultural dramaturgies, the identity play, the gendered terrain of war, and eco-drama, and encompasses work from the United States, Canada, Latin America, Oceania, South Africa, Egypt, and the United Kingdom. With contributions from leading international scholars and an introductory overview of the concerns and challenges facing women playwrights in this new century, Contemporary Women Playwrights explores the diversity and power of women's playwriting since 1990, highlighting key voices and examining crucial critical and theoretical developments within the field.

Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century

This book foregrounds some of the ways in which women playwrights from across a range of contexts and working in a variety of forms and styles are illuminating the contemporary world while also contributing to its reshaping as they reflect, rethink, and reimagine it through their work for the stage. The book is framed by a substantial introduction that sets forth the critical vision and structure of the book as a whole, and an afterword that points toward emerging currents in and expansions of the contemporary field of playwriting by women on the cusp of the third decade of the twenty-first century. Within this frame, the twenty-eight chapters that form the main body of the book, each focusing on a single play of critical significance, together constitute a multifaceted, inevitably partial, yet nonetheless integral picture of the work of women playwrights since 2000 as they engage with some of the most pressing issues of our time. Some of these issues include the continuing oppression of and violence against women, people of color, LGBTQ+ people, and ethnic minorities; the ongoing processes of decolonization; the consequences of neoliberal capitalism; the devastation and enduring trauma of war; global migration and the refugee crisis; the turn to right-wing populism; and the impact of climate change, including environmental disaster and species extinction. The book is structured into seven sections: Replaying the Canon; Representing Histories; Staging Lives; Re-imagining Family; Navigating Communities; Articulating Intersections; and New World Order(s). These sections group clusters of plays according to the broad critical actions they perform or, in the case of the final section, the new world orders that they capture through their stagings of the seeming impasse of the politically and environmentally catastrophic global present moment. There are many other points of resonance among and across the plays, but this seven-part structure foregrounds the broader actions that drive the plays, both in the Aristotelian dramaturgical sense and in the larger sense of the critical interventions that the plays creatively enact. In this way, the seven-part structure establishes correspondences across the great diversity of dramatic material represented in the book while at the same time identifying key methods of critical approach and areas of focus that align the book’s contributors across this diversity. The structure of the book thus parallels what the playwrights themselves are doing, but also how the contributors are approaching their work. Plays featured in the book are from Canada, Australia, South Africa, the US, the UK, France, Argentina, New Zealand, Syria, Brazil, Italy, and Austria; the playwrights include Margaret Atwood, Leah Purcell, Yaël Farber, Paula Vogel, Adrienne Kennedy, Suzan-Lori Parks, debbie tucker green, Lisa Loomer, Hélène Cixous, Anna Deavere Smith, Lola Arias, Lisa Kron and Jeanine Tesori, Marie Clements, Quiara Alegría Hudes, Alia Bano, Holly Hughes, Whiti Hereaka, Julia Cho, Liwaa Yazji, Grace Passô, Dominique Morisseau, Emma Dante, Frances Ya-Chu Cowhig, Lynn Nottage, Elfriede Jelinek, Caryl Churchill, Colleen Murphy, and Lucy Kirkwood. Encompassing several generations of playwrights and scholars, ranging from the most senior to mid-career to emerging voices, the book will be essential reading for established researchers, a valuable learning resource for students at all levels, and a useful and accessible guide for theater practitioners and interested theater-goers.

Women's Playwriting and the Women's Movement, 1890-1918 (Routledge Advances in Theatre & Performance Studies)

The influence of the women’s movement has long been a scholarly priority in the study of British women’s drama of the late nineteenth and early twentieth centuries, but previous scholarship has largely clustered around two events: the New Woman in the 1890s and the suffrage campaign in the years before the First World War. Women’s Playwriting and the Women’s Movement, 1890–1918 is the first designated study of British women’s drama from a period of exceptional productivity and innovation for female playwrights. Both the British theatre and women’s position within British society underwent fundamental changes in this period, and this book shows how female dramatists carefully negotiated their position in the heated debates about women’s rights that occurred at this time, while staking out a place for themselves in an evolving theatrical landscape. Farkas also identifies the women’s movement as a key influence on the development of female-authored drama between 1890 and 1918, but argues that scholarly prioritizing of the "radicalism" of work associated with the New Woman and the suffrage campaign has had a distorting effect in the past. Ideal for scholars of British and Victorian theatre, Women’s Playwriting and the Women’s Movement, 1890–1918 offers a new perspective which emphasizes the complexity of women playwrights’ engagement with first-wave feminism and links it to the diversification of the British theatre in this period.

Women's Playwriting and the Women's Movement, 1890-1918 (Routledge Advances in Theatre & Performance Studies)

The influence of the women’s movement has long been a scholarly priority in the study of British women’s drama of the late nineteenth and early twentieth centuries, but previous scholarship has largely clustered around two events: the New Woman in the 1890s and the suffrage campaign in the years before the First World War. Women’s Playwriting and the Women’s Movement, 1890–1918 is the first designated study of British women’s drama from a period of exceptional productivity and innovation for female playwrights. Both the British theatre and women’s position within British society underwent fundamental changes in this period, and this book shows how female dramatists carefully negotiated their position in the heated debates about women’s rights that occurred at this time, while staking out a place for themselves in an evolving theatrical landscape. Farkas also identifies the women’s movement as a key influence on the development of female-authored drama between 1890 and 1918, but argues that scholarly prioritizing of the "radicalism" of work associated with the New Woman and the suffrage campaign has had a distorting effect in the past. Ideal for scholars of British and Victorian theatre, Women’s Playwriting and the Women’s Movement, 1890–1918 offers a new perspective which emphasizes the complexity of women playwrights’ engagement with first-wave feminism and links it to the diversification of the British theatre in this period.

Jacobean Drama: A Critical Survey of the Professional Drama, 1600-1625

Jonson, Marston, Chapman, Middleton, Heywood, Webster and Fletcher are playwrights of the Jacobean stage whose outstanding literary achievements have to some extent been obscured or misunderstood in Shakespeare's shadow. This timely reassessment, based on the accumulated scholarship of the decades since Una Ellis-Fermor's Jacobean Drama in 1936, comes when the opening of the Swan Theatre at Stratford-upon-Avon gives the public, at last, the chance to see on the professional stage some of the neglected masterpieces of the richest period of our theatre.

Mobile Interface Theory: Embodied Space and Locative Media

In this updated second edition, Jason Farman offers a ground-breaking look at how location-aware mobile technologies are radically shifting our sense of identity, community, and place-making practices. Mobile Interface Theory is a foundational book in mobile media studies, with the first edition winning the Book of the Year Award from the Association of Internet Researchers. It explores a range of mobile media practices from interface design to maps, AR/VR, mobile games, performances that use mobile devices and mobile storytelling projects. Throughout, Farman provides readers with a rich theoretical framework to understand the ever-transforming landscape of mobile media and how they shape our bodily practices in the spaces we move through. This fully updated second edition features updated examples throughout reflecting the shifts in mobile technology. This is the ideal text for those studying mobile media, social media, digital media, and mobile storytelling.

Mobile Interface Theory: Embodied Space and Locative Media

In this updated second edition, Jason Farman offers a ground-breaking look at how location-aware mobile technologies are radically shifting our sense of identity, community, and place-making practices. Mobile Interface Theory is a foundational book in mobile media studies, with the first edition winning the Book of the Year Award from the Association of Internet Researchers. It explores a range of mobile media practices from interface design to maps, AR/VR, mobile games, performances that use mobile devices and mobile storytelling projects. Throughout, Farman provides readers with a rich theoretical framework to understand the ever-transforming landscape of mobile media and how they shape our bodily practices in the spaces we move through. This fully updated second edition features updated examples throughout reflecting the shifts in mobile technology. This is the ideal text for those studying mobile media, social media, digital media, and mobile storytelling.

Mobile Interface Theory: Embodied Space and Locative Media

In this updated second edition, Jason Farman offers a groundbreaking look at how location-aware mobile technologies are radically shifting our sense of identity, community, and place-making practices. Mobile Interface Theory is a foundational book in mobile media studies, with the first edition winning the Book of the Year Award from the Association of Internet Researchers. It explores a range of mobile media practices from interface design to maps, AR/VR, mobile games, performances that use mobile devices, and mobile storytelling projects. Throughout, Farman provides readers with a rich theoretical framework to understand the ever-transforming landscape of mobile media and how they shape our bodily practices in the spaces we move through. This fully updated second edition features updated examples throughout, reflecting the shifts in mobile technology. This is the ideal text for those studying mobile media, social media, digital media, and mobile storytelling.

Mobile Interface Theory: Embodied Space and Locative Media

In this updated second edition, Jason Farman offers a groundbreaking look at how location-aware mobile technologies are radically shifting our sense of identity, community, and place-making practices. Mobile Interface Theory is a foundational book in mobile media studies, with the first edition winning the Book of the Year Award from the Association of Internet Researchers. It explores a range of mobile media practices from interface design to maps, AR/VR, mobile games, performances that use mobile devices, and mobile storytelling projects. Throughout, Farman provides readers with a rich theoretical framework to understand the ever-transforming landscape of mobile media and how they shape our bodily practices in the spaces we move through. This fully updated second edition features updated examples throughout, reflecting the shifts in mobile technology. This is the ideal text for those studying mobile media, social media, digital media, and mobile storytelling.

Bulletproof Soul (Oberon Modern Plays)

What these Africans need to be learning about is air-con, man. I mean, I thought we were making poverty history! What was Live 8 for, then?'In Uganda, at a school for ex-child soldiers, Sol and Rena meet Alice. Sol is a charity worker, trying to keep his rebellious, seventeen-year-old sister Rena in line. Alice is Rena's age, but she's seen worse - and done worse - that either of them realise. As friendship develops, so does the risk of betrayal.A sharp explosive play about trying to do the right thing, Bulletproof Soul opened at the Birmingham Rep in March 2007.

After the Miners’ Strike A39 and Cornish Political Theatre versus Thatcher’s Britain: (pdf)

In this rich memoir, the first of two volumes, Paul Farmer traces the story of A39, the Cornish political theatre group he co-founded and ran from the mid-1980s to the early 1990s. Farmer offers a unique insight into A39’s creation, operation, and artistic practice during a period of convulsive political and social change. The reader is plunged into the national miners’ strike and the collapse of Cornish tin mining, the impact of Thatcherism and ‘Reaganomics’, and the experience of touring Germany on the brink of reunification, alongside the influence on A39 of writers Bertolt Brecht, John McGrath and Keith Johnstone. Farmer, a former bus driver turned artistic director, details the theatre group’s inception and development as it fought to break down social barriers, attract audiences, and survive with little more than a beaten-up Renault 12, a photocopier and two second-hand stage lights at its disposal: the book traces the progress from these raw materials to the development of an integrated community theatre practice for Cornwall. Farmer’s candour and humour enliven this unique insight into 1980s theatre and politics. It will appeal to anyone with an interest in theatre history, life in Cornwall, and the relationship between performance and society during a turbulent era.

The Beaux' Stratagem (New Mermaids)

It attests to Farquhar's stature as a man that he composed thiswarm-hearted and vibrant play while he was dying. Like The RecruitingOfficer, the play is set in a provincial town and its plot is slight:Aimwell and Archer, two impecunious London gentlemen, arrive inLichfield looking for an heiress to marry. Aimwell, posing as his elderbrother, falls in love with his 'prey' Dorinda and confesses hisimposture to her; his 'man-servant' Archer arouses the wistful interestof the unhappily married Mrs Sullen. The introduction to this editiondiscusses the play for its theatrical merits and argues that itdramatises the ills of marriage in early modern England, shown byFarquhar to be more injurious to the wife than to the husband, andcalls for a reform of the divorce laws.

The Beaux' Stratagem: A Comedy; The Gamester (New Mermaids)

It attests to Farquhar's stature as a man that he composed thiswarm-hearted and vibrant play while he was dying. Like The RecruitingOfficer, the play is set in a provincial town and its plot is slight:Aimwell and Archer, two impecunious London gentlemen, arrive inLichfield looking for an heiress to marry. Aimwell, posing as his elderbrother, falls in love with his 'prey' Dorinda and confesses hisimposture to her; his 'man-servant' Archer arouses the wistful interestof the unhappily married Mrs Sullen. The introduction to this editiondiscusses the play for its theatrical merits and argues that itdramatises the ills of marriage in early modern England, shown byFarquhar to be more injurious to the wife than to the husband, andcalls for a reform of the divorce laws.

The Recruiting Officer (New Mermaids)

This completely new edition of The Recruiting Officer contains a freshly-edited play text, with new annotations, in modern spelling. Tiffany Stern's comprehensive and engaging introduction discusses the author's career and gives a history of the play including its staging, critical interpretation, date and sources, putting it its context of the late Restoration and illuminating its theatrical vivacity.Farquhar's The Recruiting Officer is set in Shrewsbury in 1704 and describes what happens in a country town when the army come to stay. With cross-dressing and confusion in plenty, this is a comedy exploring the timeless themes of love and war. One of Farquhar's last two plays, The Recruiting Officer is both entertaining and touching. It has a light, humane touch and its original depiction of a real-life provincial town comically explores the impact that ongoing warfare had on its civilian society.

The Recruiting Officer: A Comedy... (New Mermaids)

This completely new edition of The Recruiting Officer contains a freshly-edited play text, with new annotations, in modern spelling. Tiffany Stern's comprehensive and engaging introduction discusses the author's career and gives a history of the play including its staging, critical interpretation, date and sources, putting it its context of the late Restoration and illuminating its theatrical vivacity.Farquhar's The Recruiting Officer is set in Shrewsbury in 1704 and describes what happens in a country town when the army come to stay. With cross-dressing and confusion in plenty, this is a comedy exploring the timeless themes of love and war. One of Farquhar's last two plays, The Recruiting Officer is both entertaining and touching. It has a light, humane touch and its original depiction of a real-life provincial town comically explores the impact that ongoing warfare had on its civilian society.

A Dead Body in Taos

When they called saying your body had been found, I had one immediate thought. I remember thinking that maybe now I'd be free.Sam hasn't spoken to her mother Kath for three years when she learns that she's been found dead in the New Mexico desert.Travelling to the small town of Taos to identify the body, she discovers Kath had become embroiled in a shadowy enterprise, offering Sam an unimaginable chance to rebuild their broken relationship. But to do so, she must decide whether she can finish what her mother started.David Farr's compelling new play is both an unsettling science fiction and an intimate study of loss and bereavement, examining how artificial intelligence could alter our understanding of death, consciousness and the soul.A Dead Body in Taos opened at the Bristol Old Vic in September 2022.

The Heart of Robin Hood

The notorious Robin Hood and his band of outlaws steal from the rich, creating a fearsome reputation amongst those who dare to travel through the mighty forest of Sherwood. But they do not share their spoils with the poor and are unloved by the people, who must also pay unfair taxes to the evil Prince John as he plots to steal his brother's crown. In this time of chaos and fear, it is down to Marion to boldly protect the poor and convince Robin that he must listen to his heart if they are to save the country.The Heart of Robin Hood, David Farr's spirited new version of the great English legend, was premiered by the RSC at the Royal Shakespeare Theatre, Stratford-upon-Avon in November 2011.

The Hunt

We are a small community. The happiness of our children is everything. Our hopes and dreams rest in these tiny souls. In a small town in northern Denmark, the children celebrate Harvest Festival. In the forest by the water the men of the lodge stand naked in the cold. This is their country. This is their song. In the shadows, a lonely child gives a strange man her heart.The hunt begins.Based on Thomas Vinterberg and Tobias Lindholm's Danish film thriller Jagten, David Farr's The Hunt opened at the Almeida, London, in June 2019.

John Ford and the Caroline Theatre

Barrie Kosky on the Contemporary Australian Stage: Affect, Post-Tragedy, Emergency (Routledge Advances in Theatre & Performance Studies)

This is the first book-length study of Australian theatre productions by internationally-renowned director, Barrie Kosky. Now a prolific opera director in Europe, Barrie Kosky on the Contemporary Australian Stage accounts for the formative years of Kosky's career in Australia. This book provides in-depth engagements with select productions including The Dybbuk which Kosky directed with Gilgul theatre company in 1991, as well as King Lear (1998), The Lost Echo (2006), and Women of Troy (2008). Using affect theory as a prism through which these works are analysed, the book accounts for the director's particular engagement with – and radical departure from – classical tragedy in contemporary performance: what the book defines as Kosky's 'post-tragedies'. Theatre studies scholars and students, particularly those with interests in affect, contemporary performance, 'director's theatre', and tragedy, will benefit from Barrie Kosky on the Contemporary Australian Stage’s vivid engagement with Kosky's work: a director who has become a singular figure in opera and theatre of international critical acclaim.

Barrie Kosky on the Contemporary Australian Stage: Affect, Post-Tragedy, Emergency (Routledge Advances in Theatre & Performance Studies)

This is the first book-length study of Australian theatre productions by internationally-renowned director, Barrie Kosky. Now a prolific opera director in Europe, Barrie Kosky on the Contemporary Australian Stage accounts for the formative years of Kosky's career in Australia. This book provides in-depth engagements with select productions including The Dybbuk which Kosky directed with Gilgul theatre company in 1991, as well as King Lear (1998), The Lost Echo (2006), and Women of Troy (2008). Using affect theory as a prism through which these works are analysed, the book accounts for the director's particular engagement with – and radical departure from – classical tragedy in contemporary performance: what the book defines as Kosky's 'post-tragedies'. Theatre studies scholars and students, particularly those with interests in affect, contemporary performance, 'director's theatre', and tragedy, will benefit from Barrie Kosky on the Contemporary Australian Stage’s vivid engagement with Kosky's work: a director who has become a singular figure in opera and theatre of international critical acclaim.

'Talk About The Passion' & 'Rattlesnakes' (Modern Plays)

Two hard-hitting plays linked by the theme of retribution, exploring the media's fascination with serial killers, and the fall-out from infidelity in marriageTalk about the Passion: A young child is horrifically murdered; the autobiography of the serial killer is a hit publication. Jason Carroway is forced to endure the guilt at failing to protect his son and the subsequent media attention that accompanies the controversial release of the killer's autobiography. The play is a moving and powerful exploration of loss, society's collusion in the glamorisation of evil, and the desire for justice.Rattlesnakes examines the seedy world of the gigolo providing sex to bored and lonely wives. A vigilante group of betrayed husbands seek retribution in this hard-hitting study of betrayal and personal failure.Talk about the Passion has been produced in the US, Australia and New Zealand and has been adapted by the author for the screen.Published to tie in with productions at the New End Theatre, Hampstead and Arc, Stockton in September 2004.

'Talk About The Passion' & 'Rattlesnakes' (Modern Plays)

Two hard-hitting plays linked by the theme of retribution, exploring the media's fascination with serial killers, and the fall-out from infidelity in marriageTalk about the Passion: A young child is horrifically murdered; the autobiography of the serial killer is a hit publication. Jason Carroway is forced to endure the guilt at failing to protect his son and the subsequent media attention that accompanies the controversial release of the killer's autobiography. The play is a moving and powerful exploration of loss, society's collusion in the glamorisation of evil, and the desire for justice.Rattlesnakes examines the seedy world of the gigolo providing sex to bored and lonely wives. A vigilante group of betrayed husbands seek retribution in this hard-hitting study of betrayal and personal failure.Talk about the Passion has been produced in the US, Australia and New Zealand and has been adapted by the author for the screen.Published to tie in with productions at the New End Theatre, Hampstead and Arc, Stockton in September 2004.

Sons + Fathers

SONS & FATHERS brings together a remarkable array of politicians and world leaders, writers and musicians, cultural icons and actors in this collection dedicated to fathers. A moving, fascinating and often funny collection of portraits, this anthology includes contributions from Bono, Paul Auster, Bob Geldof, George Clooney, Bill Clinton, Hanif Kureishi, Graydon Carter and Sting, to name a few.SONS & FATHERS tells the stories behind some of the great men of our age through their relationships with their fathers. From writing about memories and special moments, to open letters addressed to their fathers, these essays give readers an insight into otherwise private relationships. Including images and illustrations from the contributors, this exceptional anthology makes a wonderful gift and is highly collectable.

Birdsong: Wm Format (Oberon Modern Plays)

While staying as the guest of a factory owner in pre-First World War France, Stephen Wraysford embarks on a passionate affair with Isabelle, the wife of his host. The affair changes them both for ever. A few years later Stephen finds himself back in the same part of France, but this time as a soldier in the Battle of the Somme, the bloodiest encounter in British military history. As his men die around him, Stephen turns to his enduring love for Isabelle for the strength to continue and to save something for future generations.For the first time, this beautiful and terrible story about love, courage and the endurance of the human spirit is brought to the stage in a version by Rachel Wagstaff, directed by famed director Trevor Nunn.