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Palgrave Macmillan

British and Irish Drama since 1960

  • Book
  • © 1993

Overview

Editors:
  1. James Acheson

    1. University of Canterbury, Christchurch, New Zealand

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Table of contents (15 chapters)

  1. Front Matter

    Pages i-x
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  2. ‘The Absolute Absence of the Absolute’: the Theory and Practice of Samuel Beckett’s Drama

    • James Acheson
    Pages 1-17

  3. Pinter and the Pinteresque

    • John Fletcher
    Pages 18-31

  4. Revitalised Ritual and Theatrical Flair: the Plays of Peter Shaffer

    • William Hutchings
    Pages 32-46

  5. Mirrors of Utopia: Caryl Churchill and Joint Stock

    • Frances Gray
    Pages 47-59

  6. Casting the Audience: Theatricality in the Stage Plays of Peter Nichols

    • Andrew Parkin
    Pages 60-72

  7. Translations of History: Story-telling in Brian Friel’s Theatre

    • Katharine Worth
    Pages 73-87

  8. Tom Murphy: Acts of Faith in a Godless World

    • Richard Allen Cave
    Pages 88-102

  9. Edward Bond: a Political Education

    • Anthony Jenkins
    Pages 103-116

  10. Stoppard’s Theatre of Unknowing

    • Mary A. Doll
    Pages 117-129

  11. Making History: the Plays of Howard Brenton

    • Hersh Zeifman
    Pages 130-145

  12. Forgiving History and Making New Worlds: Timberlake Wertenbaker’s Recent Drama

    • Ann Wilson
    Pages 146-161

  13. Freedom and Form in David Hare’s Drama

    • James Gindin
    Pages 162-175

  14. Honouring the Audience: the Theatre of Howard Barker

    • Robert Wilcher
    Pages 176-190

  15. The Plays of Pam Gems: Personal/ Political/ Personal

    • Katherine H. Burkman
    Pages 190-201

  16. Postmodern Classics: the Verse Drama of Tony Harrison

    • Romana Huk
    Pages 202-226

  17. Back Matter

    Pages 227-230
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Keywords

About this book

The fifteen essays in this collection, published here for the first time, survey the work of some of the major British and Irish dramatists since 1960. Included are four dramatists - Samuel Beckett, Harold Pinter, Peter Shaffer and Peter Nichols - who began writing plays before 1960, and whose work since then has continued to develop interestingly. Most of the dramatists considered here, however, are those who have begun writing more recently, and who illustrate some of the distinctive characteristics of British and Irish drama of our time.

Editors and Affiliations

  • University of Canterbury, Christchurch, New Zealand

    James Acheson

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