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Intertextual Inquiry and Interpretive Creation: Pope.L’s Experimental Staging of William Wells Brown’s The Escape Journal of Contemporary Drama in English Pub Date : 2023-11-22 Ilka Saal
This contribution discusses Pope.L’s 2018 provocative restaging of William Wells Brown’s anti-slavery play The Escape: Or, A Leap of Freedom (1858) at the Art Institute of Chicago. Drawing on Linda Hutcheon’s theory of adaptation, it argues against a source-oriented assessment of the production, which would prioritize the original over its interpretation and delimit aesthetic evaluation to questions
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Creative Interpretation and the Politics of Failure Journal of Contemporary Drama in English Pub Date : 2023-11-22 Leopold Lippert
In this article, I ask what happens to theatrical performance when it fails. By describing a performance as “failed,” I do not necessarily imply its normative dismissal – as a “flawed” enactment or an artistic vision not properly executed. Instead, I use failure as a conceptual starting point for the articulation of alternative meaning-making practices. In this sense, failure is a form of creative
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Relations with/to the Text: Four Plays on the Move Journal of Contemporary Drama in English Pub Date : 2023-11-22 Kerstin Schmidt
The Caribbean philosopher and poet Édouard Glissant is not known for his work on theater; rather, he has been influential for a postcolonial reconceptualization of Caribbean spaces and the ways in which they are intertwined with a history of colonization. His theory of relation has been paramount for a rethinking of a concept of connection, theorizing the layered, complex, and often surprising relations
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“They Think We’re Foul-Mouthed Sluts”: Discomfort, Bourgeois Spectatorship, and Fellow Feelings of Feminism in Patricia Cornelius’s SHIT Journal of Contemporary Drama in English Pub Date : 2023-11-22 Sarah Busch
The question of how spectators engage emotionally with what they see on stage has always been of interest to theatre scholars and performance-makers. This article offers a small-scale analysis of audience responses to Patricia Cornelius’s SHIT (2015) that was performed by Dublin theatre collective THISISPOPBABY at the Project Arts Centre in March 2022. The vulgar and aggressive protagonists confront
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Creative Appropriations: Everyman on the Contemporary Stage Journal of Contemporary Drama in English Pub Date : 2023-11-22 Julia Rössler
The morality tale Everyman has in recent years seen a notable renaissance in contemporary theater: Everybody (2017) by US American playwright Branden Jacobs-Jenkins, Carol Ann Duffy’s adaptation of Everyman (2015) at the National Theatre in London, and director/playwright Milo Rau’s work Everywoman (2020) have turned to it. In this article, I conceptualize these theatrical works as creative appropriations
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Exploring the Line between Creation and Creator in Mabou Mines’s Glass Guignol: The Brother and Sister Play Journal of Contemporary Drama in English Pub Date : 2023-11-22 Annette J. Saddik
During the last ten years of his life, Lee Breuer, who passed away in 2021, had been interested in framing Tennessee Williams’s canon, particularly the late plays, through the perspective of the grotesque and the Grand Guignol. Mabou Mines’s Glass Guignol: The Brother and Sister Play (2017), directed by Breuer and conceived by Breuer and Maude Mitchell, views Williams’s work alongside Mary Shelley’s
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Criticising Capitalism in the City and on the Stage: The City Street Movement Occupy Wall Street and Tim Price’s Protest Song Journal of Contemporary Drama in English Pub Date : 2023-05-12 Christine Schwanecke
Following the 2022 CDE conference’s concern regarding “how theatre and the city are productively embroiled and [. . .] how contemporary Anglophone theatre has redefined [. . .] [and blurred the] borders between centre and periphery, street and stage, performer and spectator” (Garson et al.), I will focus on Tim Price’s Protest Song, which was commissioned by the National Theatre and was staged there
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A Sense of Place: Staging Psychogeographies of the UK Housing Crisis Journal of Contemporary Drama in English Pub Date : 2023-05-12 Jen Harvie
Contemporary Britain is experiencing an enduring and devastating housing crisis spearheaded in 1980 by Margaret Thatcher’s introduction of the “Right to Buy” social housing and sustained by an enduring neoliberal hegemony. This article contextualises the housing crisis through data and information drawn from journalism, charities, and government. It then explores how the crisis is conveyed in two recent
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Interrelating Necrocities and Borderscapes in the Migration Performances The Jungle, Lampedusa, and The Walk Journal of Contemporary Drama in English Pub Date : 2023-05-12 Elisabeth Knittelfelder
Cities and borders are interlinked by a necropolitics that is particularly pertinent on the coasts of the European continent and the settlements along its coastlines. While these borderscapes become what Achille Mbembe refers to as death worlds, refugee cityscapes turn into Fanonian zones-of-nonbeing. The play The Jungle (2017) by Joe Murphy and Joe Robertson, the ensuing travelling festival The Walk
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Walkshop Paris: Notes on a Creative Process with the Urban Landscape Journal of Contemporary Drama in English Pub Date : 2023-05-12 Francis Wilker, Glauber Coradesqui, Verônica Veloso
This article introduces the concept of a walkshop, an artistic and pedagogical practice based on walking and engaging in encounters with the cityscape. Performers and participants partake in an experience that mediates other forms of relationship with the city while they circulate, contemplate, and discover its spaces, acknowledging its inhabitants and their singularities. When we focus attention on
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Punchdrunk’s Kabeiroi: Taking Immersive Theatre to the Streets Journal of Contemporary Drama in English Pub Date : 2023-05-12 Déborah Prudhon
Punchdrunk is often considered the pioneer within the field of immersive theatre, which “[places] the audience at the heart of the work” (Machon 22) and abolishes the distinction between stage and auditorium to merge them into one single space. Founded by Felix Barrett in 2000, the British company is known for creating detailed theatrical worlds that inhabit the space of disused buildings in which
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The Impossibility of Fleeing: The Deconstruction of Urban Space in Martyna Majok’s Cost of Living Journal of Contemporary Drama in English Pub Date : 2023-05-12 Anna Bendrat
In The Ontology of the Accident, Catherine Malabou describes the phenomenon of a “form born of the accident, born by accident, a kind of accident,” when due to a “deep cut” in a biography, the individual’s path of life trajectory splits and a “new, unprecedented persona comes to live with the former person” (1–2). This article proposes that Martyna Majok’s 2018 Pulitzer-awarded drama Cost of Living
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Place on Parade: Consumerism and Disidentification in the Parade Genre Journal of Contemporary Drama in English Pub Date : 2023-05-12 Andy Colpitts
The American parade has been investigated in terms of how it transforms urban streets into a place where collective memory and identity are consolidated along lines of class, race, ethnicity, and gender (Ryan; Roach). However, the role of the rural parade has heretofore seen little critical analysis. Since any conception of the urban relies on the rural as a foil, we wonder how the American parade
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Performing the City: Space, Movement, and Memory in O Ben’Groes at Droed Amser Journal of Contemporary Drama in English Pub Date : 2023-05-12 Francesca Forlini
In considering some of the aspects that are brought to the site-specific process, this article explores how theatre renegotiates patterns of intraurban movement, enacting complex approaches to space and memory. The focus is on O Ben’Groes at Droed Amser, a Theatr Genedlaethol Cymru and National Theatre Wales production, created in collaboration with BBC Cymru Wales and BBC Arts in 2020 as part of Theatr
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(Un)real City: Spatial and Temporal Ghosting in ANU Productions’ The Party to End All Parties Journal of Contemporary Drama in English Pub Date : 2023-05-12 Tamara Radak
As COVID-19-related closures affected theatre and performance venues worldwide, the question of how theatrical practices might be adapted to these new circumstances became particularly pertinent in the context of immersive theatre and site-specific performance, forms which heavily draw on the audience’s experiential encounter with site and performers for its process of meaning-making. Focussing on
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“Through the Pen to Begin with”: Anticolonial Resistance in Tanika Gupta’s Adaptation of Great Expectations Journal of Contemporary Drama in English Pub Date : 2022-11-25 Marlena Tronicke
Tanika Gupta’s neo-Victorian, postcolonial rewriting of Charles Dickens’s Great Expectations (2011) examines how India and Britain’s colonial history continues to shape both countries until the present day. The play is set in and around Calcutta in the years following 1861. Gupta thus not only relocates Pip’s transformation from village boy to metropolitan businessman to nineteenth-century India but
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The Country Wife, Southall Style: Restoration Comedy and the Multicultural Gaze Journal of Contemporary Drama in English Pub Date : 2022-11-25 Sara Soncini
First performed at Watford Palace Theatre in 2004, Tanika Gupta’s version of William Wycherley’s The Country Wife (1675) relocates the Restoration classic to twenty-first-century London, reframing its libertine plot as a witty satire on sexual and gender mores in contemporary Britain. In this new setting, Wycherley’s comic masterpiece is revisited from a multicultural perspective, and his merciless
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Adapting British Asian Women’s Stories: Tanika Gupta’s Anita and Me Journal of Contemporary Drama in English Pub Date : 2022-11-25 Giovanna Buonanno
Tanika Gupta’s engagement with the works of contemporary bicultural writers invigorates her longstanding project of “staging the intercultural” (Gupta and Sierz 38). This essay discusses the ways in which the author juxtaposes her voice with that of Meera Syal who, since the 1980 s, has helped to shape the burgeoning field of British Asian women’s writing, while also establishing a distinct British
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The Politics of Experimental Drama: Unexpected Conformity and Weird Resistance in Alistair McDowall’s Pomona Journal of Contemporary Drama in English Pub Date : 2022-11-25 David Barnett
This article explores the relationship between form, content, and politics. It challenges some significant positions by no lesser figures than Bertolt Brecht and Heiner Müller on the need for radical forms to function as a prerequisite for imagining alternatives to the prevailing sociopolitical order. The main focus for analysis is Alistair McDowall’s Pomona (2014), a much-produced and much-lauded
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Indian Servitude(s) in Imperial London: Tanika Gupta’s The Empress Journal of Contemporary Drama in English Pub Date : 2022-11-25 Christiane Schlote
Dramatic acts of retrieving marginalised stories and of rewriting imperial history from a transnational perspective have been essential for efforts at decolonising knowledge. In The Empress (2013), Tanika Gupta explores the neglected history of Indian communities and the nexus of imperial labour and mobility in late-Victorian London through interlacing the fictional story of the Bengali ayah Rani and
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Transadaptation and Bollywoodisation in Tanika Gupta’s Hobson’s Choice and Wah! Wah! Girls Journal of Contemporary Drama in English Pub Date : 2022-11-25 Jerri Daboo
Tanika Gupta’s varied work as a playwright encompasses transadaptation in a range of forms. This article will focus on two of her plays, Hobson’s Choice (2003/2019) and Wah! Wah! Girls (2012), exploring the ways in which she depicts representations of South Asian communities in Britain in different ways. Hobson’s Choice reworks the original 1916 play to being set among the Bengali community working
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“A Missile to the Future”: The Theatre Ecologies of Caryl Churchill’s Far Away on Spike Island Journal of Contemporary Drama in English Pub Date : 2022-05-16 Patrick Lonergan
This article considers how processes associated with reviving well-known plays can offer new theatrical approaches to the climate crisis. Such revivals can make visible ecological or environmental features that might have gone unnoticed in the past, but which can inspire agency and instil knowledge in the present. This idea is explored in relation to an Irish production of Caryl Churchill’s Far Away
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Playing the Petrocene: Toxicity and Intoxication in Leigh Fondakowski’s Spill and Ella Hickson’s Oil Journal of Contemporary Drama in English Pub Date : 2022-05-16 Linda M. Hess
Ella Hickson’s Oil (2016) and Leigh Fondakowski’s Spill (2014) make palpable to their audiences what I call the Petrocene: the age in which human existence has become impossible to conceive without oil. Each play illuminates the pervasive presence of petroleum infrastructures in its own way: while Spill focuses on the specific and sensational crisis of the BP oil spill in the Gulf of Mexico in 2010
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Encounters in the Chthulucene: Simon McBurney’s Theatre of Compost Journal of Contemporary Drama in English Pub Date : 2022-05-16 Solange Ayache
Looking at Simon McBurney’s award-winning solo performance The Encounter (2015), this paper examines the play’s contribution to environmental humanities through an ecocritical study of its combined use of state-of-the-art sound design and the age-old art of storytelling to address the link between the ecological and spiritual crises that we are facing. The Encounter relates the real story of the American
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Alienation, Abjection, and Disgust: Encountering the Capitalocene in Contemporary Eco-Drama Journal of Contemporary Drama in English Pub Date : 2022-05-16 Leila Michelle Vaziri
“We are shaped, to a greater extent than almost any other species, by contact with others. [. . .] Yet what counts now is to win. [. . .] And for this, we have ripped the natural world apart” (Monbiot). This quote stems from a Guardian article that is also printed as an epigraph in Tanya Ronder’s 2015 play Fuck the Polar Bears, and it reveals the connection between the Capitalocene, as described by
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An Ecology of Plants: The Post-Manufacturing Age in Philip Ridley’s Shivered and David Eldridge’s In Basildon Journal of Contemporary Drama in English Pub Date : 2022-05-16 Christian Attinger
The article argues that the so-called Capitalocene, proposed by Jason W. Moore, augments Anthropocenic reasoning by addressing the systemic and ideological shortcomings threatening the very basics of human existence that hitherto have so often been neglected or simply missed by “Green Arithmetic” and a naive belief in technology. The readings of Philip Ridley’s Shivered (2012) and David Eldridge’s
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Kinship and Community in Climate-Change Theatre: Ecodramaturgy in Practice Journal of Contemporary Drama in English Pub Date : 2022-05-16 Theresa J. May
Ecodramaturgy, a critical framework that interrogates the implicit ecological values in any play or production, is explained here and then used to demonstrate the central tenets of climate theatre, including theatre’s potential for decolonisation, interspecies understanding, and community engagement. Burning Vision (2002) by Marie Clements employs a ceremonial performance form to unearth the hidden
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Eco-Drama, Multinational Corporations, and Climate Change in Nigeria Journal of Contemporary Drama in English Pub Date : 2022-05-16 Rowland Chukwuemeka Amaefula
Oil explorations by multinational corporations in Nigeria have grave consequences on the ecosystem. Gas flaring, oil spillage, and other forms of land and water pollution seriously degrade the natural environment as well as displace Nigerians from their homes and traditional occupations. Pollution has caused increased flooding, erosion, and dearth of both food and fishes, leading to poverty and hidden
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Symptomatic Spaces: Adam Rapp and American Eco-Drama in the Anthropocene Journal of Contemporary Drama in English Pub Date : 2022-05-16 Julia Rössler
This article situates two works by contemporary American playwright Adam Rapp – Faster (2002) and Ghosts in the Cottonwoods (2014) – in the wider context of the different traditions of ecological theatre that emerged in the United States in the twentieth century. These traditions can be characterised by their distinct spatial orientation, while similarly shifting focus away from the centrality of representing
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Writing in the Green: Imperatives towards an Eco-n-temporary Theatre Canon Journal of Contemporary Drama in English Pub Date : 2022-05-16 Vicky Angelaki
This article reflects on the sociopolitical, cultural, and health landscape(s) of our current moment in time, addressing how intersecting crises have delivered us to an unprecedented moment for drama, theatre, and performance. As communities across the world have had to dispense with staples of everyday life – attending live theatre performances being one of these –, so art, in all its forms, has never
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An Art Like Nature: Theatre Environment as Territory in Tim Spooner Performances Journal of Contemporary Drama in English Pub Date : 2022-05-16 Simon Bowes
Tim Spooner has described his practice as “an increasingly complex series of live performances centred on the revelation of life in material.”1 In this article, I consider this revelation as the precondition of a theatre ecology. Spooner stages a theatrical encounter between bodies and environments, in which distinctions between person-thing, subject-object, self-other no longer hold. Whilst there
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Bec(h)oming with Simon Whitehead: Practising a Logic of Sensation Journal of Contemporary Drama in English Pub Date : 2022-05-16 Carl Lavery
In this text and image essay, I introduce a new concept to the environmental humanities; one which seeks to trouble metaphysical notions of dwelling by combining the idea of home (the oikos in ecology) with a notion of permanent becoming. In this way, home loses its conservative and reactionary connotations with atavistic origins and identities and instead is opened up to nonhuman forces and powers
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To Be Like Water: Material Dramaturgies in Posthumanist Performance Journal of Contemporary Drama in English Pub Date : 2022-05-16 Ramona Mosse, Anna Street
This article explores how water performs on the contemporary stage. Drawing on theorists such as Rosi Braidotti, Karen Barad, and Joanna Zylinska, we investigate water in its various dramaturgical functions as matter, medium, and metaphor to sketch performance alternatives that highlight nonhuman forms of agency. Focusing on the work of sound artist and geographer AM Kanngieser and their use of water
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Performing Resilience: Anchorage and Leverage in Live Action Role-Play Drama Journal of Contemporary Drama in English Pub Date : 2022-05-16 Jamie Harper
The concept of resilience is frequently described within neoliberal discourses as the ability of individuals to bounce back from shocks and reflexively adapt to changing circumstances. In ecological sciences, however, resilience is more commonly understood as the capacity of systems to radically transform themselves, when their usual mode of operation is challenged, rather than simply reverting to
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Daphne P. Lei and Charlotte McIvor, ed. The Methuen Drama Handbook of Interculturalism and Performance. London: Methuen Drama, 2020, 280 pp., $157.00 (hardback), $126.00 (PDF ebook), $126.00 (EPUB/MOBI ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Markus Wessendorf
Article Daphne P. Lei and Charlotte McIvor, ed. The Methuen Drama Handbook of Interculturalism and Performance. London: Methuen Drama, 2020, 280 pp., $157.00 (hardback), $126.00 (PDF ebook), $126.00 (EPUB/MOBI ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Emily Klein, Jennifer-Scott Mobley, and Jill Stevenson, ed. Performing Dream Homes: Theater and the Spatial Politics of the Domestic Sphere. Cham: Palgrave Macmillan, 2019, xvi + 238 pp., €84,99 (hardback), €71,68 (ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Dorothee Birke
Article Emily Klein, Jennifer-Scott Mobley, and Jill Stevenson, ed. Performing Dream Homes: Theater and the Spatial Politics of the Domestic Sphere. Cham: Palgrave Macmillan, 2019, xvi + 238 pp., €84,99 (hardback), €71,68 (ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Clare Finburgh. Watching War on the Twenty-First Century Stage: Spectacles of Conflict. London: Bloomsbury Methuen Drama, 2017, xv + 355 pp., £76.50 (hardback), £26.99 (paperback), £21.59 (PDF ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Ariane de Waal
Article Clare Finburgh. Watching War on the Twenty-First Century Stage: Spectacles of Conflict. London: Bloomsbury Methuen Drama, 2017, xv + 355 pp., £76.50 (hardback), £26.99 (paperback), £21.59 (PDF ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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William C. Boles, ed. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. London: Palgrave Macmillan, 2020, xvi + 251 pp., £79.99 (hardback), £63.99 (ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Aleks Sierz
Article William C. Boles, ed. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. London: Palgrave Macmillan, 2020, xvi + 251 pp., £79.99 (hardback), £63.99 (ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Frontmatter Journal of Contemporary Drama in English Pub Date : 2021-11-01
Article Frontmatter was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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“It Can’t Happen Here”: Howard Brenton’s The Churchill Play Journal of Contemporary Drama in English Pub Date : 2021-11-01 Judith Saunders
This article proposes revisiting Howard Brenton’s The Churchill Play (1974). I contend that the play offers pertinent insights into how authoritarian governments come into being through the implicit cooperation of people who, wittingly or unwittingly, enter into a “conspiracy of obedience.” Although inspired by political issues that were current in Britain in the 1970 s and 1980 s, the play’s illustration
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“My Skin Is Not Me”: The Transformations of William Shakespeare’s Othello in Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet) and Djanet Sears’s Harlem Duet Journal of Contemporary Drama in English Pub Date : 2021-11-01 Imed Sassi
Both Goodnight Desdemona (Good Morning Juliet) (1990) and Harlem Duet (1997) are Canadian feminist appropriations of William Shakespeare. Both deal, at least partly, with Othello , and both can be considered subversive re-visions of Shakespeare’s play which aim to articulate oppositional intervention in the canon. These similarities notwithstanding, the plays have not often been studied concurrently
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“You Don’t Know Who This Man Is”: Hospitality and Trauma in Alexandra Wood’s The Human Ear Journal of Contemporary Drama in English Pub Date : 2021-11-01 Büşra Erdurucan
This paper explores the themes of hospitality and trauma in Alexandra Wood’s The Human Ear (2015) by focusing on the modes of encounter with the Other in the play. As Lucy, a woman in her twenties, tries to come to terms with the death of her mother as a result of an unspecified bomb attack, she finds out that her estranged brother, Jason, killed himself. In the meantime, however, a man who claims
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Family Matters: Trauma and the Legacy of War in James Allen Moad II’s Outside Paducah: The Wars at Home Journal of Contemporary Drama in English Pub Date : 2021-11-01 Andrea Roxana Bellot
Outside Paducah: The Wars at Home (2016), a play written and performed solo by James Allen Moad II, a former Air Force pilot, explores the enduring effects of war on American veterans and their families after soldiers return home from the battleground. The play moves beyond the individual representation of a traumatized veteran by addressing two intertwined issues: the collective and transgenerational
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When Young Playwrights Are Kept Awake Because of History: Cultural Memory and Amnesia in Recent American Plays Journal of Contemporary Drama in English Pub Date : 2021-11-01 Ramón Espejo Romero
Borrowing from both a painting and the retrospective exhibition of David Wojnarowicz, History Keeps Me Awake at Night , this paper targets two recent American plays: Annie Baker’s The Flick (2013) and Matthew Lopez’s The Inheritance (2018). In both, the playwrights point to the neglect of history, or rather cultural memory, as I will insist on calling it, as one of the ills affecting a “historicidal”
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This Is England 2021: Staging England and Englishness in Contemporary Theatre Journal of Contemporary Drama in English Pub Date : 2021-11-01 Gemma Edwards
This article explores the ways in which contemporary theatre is engaging with English national questions. In the context of the current devolutionary movements in Britain, I apply a national specificity, focusing on plays and performances which address the politics of just one of the three nations within Britain: England. While this study of the specifics of England and Englishness is already well-established
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Memory, National Identity Formation, and (Neo)Colonialism in Hannah Khalil’s A Museum in Baghdad Journal of Contemporary Drama in English Pub Date : 2021-11-01 Majeed Mohammed Midhin, David Clare, Noor Aziz Abed
According to Ernest Renan, a nation is formed by its collective memory; it is a country’s shared experiences which enable it to become (in Benedict Anderson’s much later coinage) an “imagined community.” Building on these ideas, commentators such as Kavita Singh and Lianne McTavish et al. have shown how museums play a key role in helping nations to form an identity and understand their past. However
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Michael Shane Boyle, Matt Cornish, and Brandon Woolf, ed. Postdramatic Theatre and Form. London: Methuen, 2019, xii + 266 pp., £52.50 (hardback), £26.09 (paperback), £37.12 (PDF ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Piet Defraeye
Article Michael Shane Boyle, Matt Cornish, and Brandon Woolf, ed. Postdramatic Theatre and Form. London: Methuen, 2019, xii + 266 pp., £52.50 (hardback), £26.09 (paperback), £37.12 (PDF ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Sarah J. Ablett. Dramatic Disgust: Aesthetic Theory and Practice from Sophocles to Sarah Kane. Bielefeld: transcript, 2020, 199 pp., €38.00 (paperback), €37.99 (PDF ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Laurens De Vos
Article Sarah J. Ablett. Dramatic Disgust: Aesthetic Theory and Practice from Sophocles to Sarah Kane. Bielefeld: transcript, 2020, 199 pp., €38.00 (paperback), €37.99 (PDF ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Kim Solga. Theory for Theatre Studies: Space. London: Bloomsbury, 2019, 208 pp., £45.00 (hardback), £11.69 (paperback), £9.35 (ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Gemma Edwards
Article Kim Solga. Theory for Theatre Studies: Space. London: Bloomsbury, 2019, 208 pp., £45.00 (hardback), £11.69 (paperback), £9.35 (ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Shonagh Hill. Women and Embodied Mythmaking in Irish Theatre. Cambridge: Cambridge UP, 2019, x + 257 pp., £75.00 (hardback). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Lisa Fitzpatrick
Article Shonagh Hill. Women and Embodied Mythmaking in Irish Theatre. Cambridge: Cambridge UP, 2019, x + 257 pp., £75.00 (hardback). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Marco Galea and Szabolcs Musca, ed. Redefining Theatre Communities: International Perspectives on Community-Conscious Theatre-Making. Bristol and Chicago: Intellect, 2019, 262 pp., £76.00 (hardback). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Marissia Fragkou
Article Marco Galea and Szabolcs Musca, ed. Redefining Theatre Communities: International Perspectives on Community-Conscious Theatre-Making. Bristol and Chicago: Intellect, 2019, 262 pp., £76.00 (hardback). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Roxanne Rimstead and Domenico A. Beneventi, ed. Contested Spaces, Counter-Narratives, and Culture from Below in Quebec and Canada. Toronto: U of Toronto P, 2019, 348 pp., $71.25 (hardback), $71.25 (ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Jane Koustas
Article Roxanne Rimstead and Domenico A. Beneventi, ed. Contested Spaces, Counter-Narratives, and Culture from Below in Quebec and Canada. Toronto: U of Toronto P, 2019, 348 pp., $71.25 (hardback), $71.25 (ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Jenn Stephenson. Insecurity: Perils and Products of Theatres of the Real. Toronto, Buffalo, and London: U of Toronto P, 2019, viii + 286 pp., $75.75 (hardback), $57.75 (ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Chris Megson
Article Jenn Stephenson. Insecurity: Perils and Products of Theatres of the Real. Toronto, Buffalo, and London: U of Toronto P, 2019, viii + 286 pp., $75.75 (hardback), $57.75 (ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Molly Mullen. Applied Theatre: Economies. London: Bloomsbury Methuen Drama, 2019, xiv + 265 pp., £38.31 (hardback), £31.10 (paperback), £22.58 (Kindle ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Ellen Redling
Article Molly Mullen. Applied Theatre: Economies. London: Bloomsbury Methuen Drama, 2019, xiv + 265 pp., £38.31 (hardback), £31.10 (paperback), £22.58 (Kindle ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Stephen Greer. Queer Exceptions: Solo Performance in Neoliberal Times. Manchester: Manchester UP, 2019, ix + 222 pp., £80.00 (hardback), £20.00 (paperback), £20.00 (ebook). Journal of Contemporary Drama in English Pub Date : 2021-11-01 Maurya Wickstrom
Article Stephen Greer. Queer Exceptions: Solo Performance in Neoliberal Times. Manchester: Manchester UP, 2019, ix + 222 pp., £80.00 (hardback), £20.00 (paperback), £20.00 (ebook). was published on November 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 2).
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Frontmatter Journal of Contemporary Drama in English Pub Date : 2021-05-01
Article Frontmatter was published on May 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 1).
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Introduction: Performing the Future Journal of Contemporary Drama in English Pub Date : 2021-05-01 Anette Pankratz, Merle Tönnies
Article Introduction: Performing the Future was published on May 1, 2021 in the journal Journal of Contemporary Drama in English (volume 9, issue 1).
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“Who’s Going to Mobilise Darkness and Silence?”: The Construction of Dystopian Spaces in Contemporary British Drama Journal of Contemporary Drama in English Pub Date : 2021-05-01 Aleks Sierz, Merle Tönnies
This article examines the recent explosion of British dystopian plays, analysing their changing characteristics from the 1990 s to the 2010 s. After an initial brief look at precursors, it then focuses on examples of new writing which tackle the idea of dystopia in the absurdist manner typical of the 2000 s. In a third step, the focus is on the dystopian drama of the 2010 s and its more conventionally
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More Future? Straight Ecologies in British Climate-Change Theatre Journal of Contemporary Drama in English Pub Date : 2021-05-01 Ariane de Waal
Attempts to convey the urgency of the climate crisis often rely on the figure of the child. From Greta Thunberg via school-striking students to the grandchildren invoked in the titles of bestselling books about global warming, appearances of children seem especially effective in protesting the loss of a habitable planet. The iconic child that needs saving (or becomes the planet’s saviour) is equally
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String Figures of Response-ability and the Refusal to Respond in Clare Pollard’s The Weather Journal of Contemporary Drama in English Pub Date : 2021-05-01 Cornelia Wächter
This article discusses Clare Pollard’s The Weather (Royal Court, 2004) with a focus on how the play critiques the widespread failure to assume responsibility for both personal and collective wrongdoing as symptomatic of the Anthropocene and Capitalocene. More specifically, the paper reads Pollard’s play through the prism of Donna Haraway’s conception of science fiction as a figure, denoting “science