A Concise Companion to Contemporary British and Irish Drama - download pdf or read online

By Mary Luckhurst, Nadine Holdsworth

Focusing on significant and rising playwrights, associations, and diverse theatre practices this Concise spouse examines the most important matters in British and Irish theatre due to the fact that 1979. Written by means of best overseas students within the box, this assortment bargains new methods of considering the social, political, and cultural contexts during which particular points of British and Irish theatre have emerged and explores the connection among those contexts and the works produced. It investigates why specific concerns and practices have emerged as major within the theatre of this period.

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Both plays offer salient warnings about ignoring Europe’s nationalistic and ethnic tensions and concern themselves intimately with the conflict that followed the break-up of the Federal Republic of Yugoslavia, a horrific conflict that marked the nadir of European transition and change during the 1990s and confronted the EU with one of its sternest challenges. As Aston notes ‘Blasted captured a feeling of the Bosnian war’ (2003: 81), and in a number of interviews given by Kane, she repeatedly returns to the conflict in the former Yugoslavia, especially the Bosnian conflict, as a means of establishing Blasted’s political and ethical engagement within contemporary European events (Langridge and Stephenson 1997; Saunders 2002).

Notes 1 2 3 Reinelt (2001) considers Theatre de Complicite’s Mnemonic (1999), Edgar’s Pentecost (1994) and Greig’s Europe (1994). For example, see: Raymond L. Garthoff (1994). The Great Transition: American–Soviet Relations and the End of the Cold War. Washington, DC: Brookings Institution; Walter LaFeber (1993). America, Russia and the Cold War 1945– 1992. New York: McGraw-Hill; Timothy Garton Ash (1990). We The People: The Revolution of ’89. Harmondsworth: Penguin; Don Oberdorfer (1991). The Turn: How the Cold War Came to an End.

Yet a more careful analysis will reveal a richer if vexing interplay in Translations between nostalgia and irony, as the play both laments the loss of a vital ancient culture and critiques that culture’s own, festering malaise. The crowning irony in Translations, as has been noted often, resides in its central device. In this play celebrating the richness of the Gaelic tongue, not a word of Irish is spoken (place-names excepted). The lines of the Irish peasants, though written in English, are meant to be understood as Irish, as one first deduces from a remark early in act I.

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