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Modern British Playwriting : Voices, Documents, New Interpretations

By: Pattie, David.
Contributor(s): Bull, John | Bay-Cheng, Sarah | Boon, Richard | Roberts, Philip | Gilleman, Luc.
Material type: TextTextSeries: eBooks on Demand.Decades of Modern British Playwriting: Publisher: London : Bloomsbury Publishing, 2012Description: 1 online resource (200 p.).ISBN: 9781408129296.Subject(s): Eliot, T. S. -- (Thomas Stearns), -- 1888-1965 -- Criticism and interpretation | English drama -- 20th century -- History and criticism | Osborne, John, -- 1929-1994 -- Criticism and interpretation | Rattigan, Terence -- Criticism and interpretation | Wesker, Arnold, -- 1932- -- Criticism and interpretationGenre/Form: Electronic books.Additional physical formats: Print version:: Modern British Playwriting: The 1950sDDC classification: 822.91409 Online resources: Click here to view this ebook.
Contents:
Cover -- Title Page -- Contents -- General Preface -- Introduction to the 1950s -- Britain 1945-60: managing the peace -- Britain 1945-60: culture and society -- Chapter 1 The British Theatre 1945-60 -- The British stage 1945-60: the theatre industry -- The state and the theatre -- Repertory theatre in the 1950s -- The British stage 1945-60: the writers' revolution -- Censors and critics -- Before the revolution: 1945-56 -- Verse drama -- Priestley and Coward -- Ackland and Whiting -- The main engagement 1955-60: Beckett and Brecht -- Beckett -- Brecht
The main engagement 1955-60: new British theatres -- The ESC -- Theatre Workshop -- The situation is confused: entering the 1960s -- Chapter 2 Introducing the Playwrights -- Introduction -- T. S. Eliot (1888-1949): faith, fragmentation and tradition -- Terence Rattigan (1911-46): the commercial stage -- John Osborne (1929-56): the fatality of hatred -- Arnold Wesker (1932-58): 'I could add to what was happening' -- Chapter 3 Playwrights and Plays -- T. S. Eliot: plays of the 1950s by Sarah Bay-Cheng -- The Cocktail Party -- The Confidential Clerk -- The Elder Statesman -- Conclusion
Terence Rattigan: private lives and public lives -- Aunt Edna -- The private and the public -- The Winslow Boy -- The Browning Version -- The Deep Blue Sea -- Separate Tables -- The private revolution -- John Osborne: the drama of emotions by Luc Gilleman -- Osborne in the 1950s -- Look Back in Anger -- The Entertainer: 'the heart of England' -- Luther: 'the just shall live by faith' -- In the anguish of his spirit -- Arnold Wesker: the trilogy by John Bull -- Introduction -- Chicken Soup with Barley -- Roots -- I'm Talking About Jerusalem -- Conclusion -- Chapter 4 Documents -- The golden age
Tynan and Hobson -- Beckett and Brecht -- The Royal Court and the new drama -- Theatre Workshop -- Afterword -- Terence Rattigan (1956-77): I have tried to keep pace -- John Osborne (1961-94): watch it come down -- Arnold Wesker (1960-): what could be my crime? -- Select Bibliography -- Notes -- Acknowledgements -- Notes on Contributors -- A Note on the Author -- In the same series from Methuen Drama -- eCopyright
Summary: Part of the Decades of Modern British Playwriting series, the volume provides a critical survey of the theatre produced in the 1950s together with detailed studies by a team of experts of the work of T. S. Eliot, Terence Rattigan, John Osborne and Arnold Wesker.
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Item type Current location Call number URL Status Date due Barcode
Electronic Book UT Tyler Online
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PR736 .P384 2012 (Browse shelf) http://uttyler.eblib.com/patron/FullRecord.aspx?p=1085187 Available EBL1085187

Cover -- Title Page -- Contents -- General Preface -- Introduction to the 1950s -- Britain 1945-60: managing the peace -- Britain 1945-60: culture and society -- Chapter 1 The British Theatre 1945-60 -- The British stage 1945-60: the theatre industry -- The state and the theatre -- Repertory theatre in the 1950s -- The British stage 1945-60: the writers' revolution -- Censors and critics -- Before the revolution: 1945-56 -- Verse drama -- Priestley and Coward -- Ackland and Whiting -- The main engagement 1955-60: Beckett and Brecht -- Beckett -- Brecht

The main engagement 1955-60: new British theatres -- The ESC -- Theatre Workshop -- The situation is confused: entering the 1960s -- Chapter 2 Introducing the Playwrights -- Introduction -- T. S. Eliot (1888-1949): faith, fragmentation and tradition -- Terence Rattigan (1911-46): the commercial stage -- John Osborne (1929-56): the fatality of hatred -- Arnold Wesker (1932-58): 'I could add to what was happening' -- Chapter 3 Playwrights and Plays -- T. S. Eliot: plays of the 1950s by Sarah Bay-Cheng -- The Cocktail Party -- The Confidential Clerk -- The Elder Statesman -- Conclusion

Terence Rattigan: private lives and public lives -- Aunt Edna -- The private and the public -- The Winslow Boy -- The Browning Version -- The Deep Blue Sea -- Separate Tables -- The private revolution -- John Osborne: the drama of emotions by Luc Gilleman -- Osborne in the 1950s -- Look Back in Anger -- The Entertainer: 'the heart of England' -- Luther: 'the just shall live by faith' -- In the anguish of his spirit -- Arnold Wesker: the trilogy by John Bull -- Introduction -- Chicken Soup with Barley -- Roots -- I'm Talking About Jerusalem -- Conclusion -- Chapter 4 Documents -- The golden age

Tynan and Hobson -- Beckett and Brecht -- The Royal Court and the new drama -- Theatre Workshop -- Afterword -- Terence Rattigan (1956-77): I have tried to keep pace -- John Osborne (1961-94): watch it come down -- Arnold Wesker (1960-): what could be my crime? -- Select Bibliography -- Notes -- Acknowledgements -- Notes on Contributors -- A Note on the Author -- In the same series from Methuen Drama -- eCopyright

Part of the Decades of Modern British Playwriting series, the volume provides a critical survey of the theatre produced in the 1950s together with detailed studies by a team of experts of the work of T. S. Eliot, Terence Rattigan, John Osborne and Arnold Wesker.

Description based upon print version of record.

Author notes provided by Syndetics

David Pattie is Professor of Drama at the University of Chester, UK. Series editors: Richard Boon , Emeritus Professor of Drama, the University of Hull, UK, and Philip Roberts , Emeritus Professor in the School of English, University of Leeds, UK.

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