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Elizabethan and Jacobean Reappropriation in Contemporary British Drama


Elizabethan and Jacobean Reappropriation in Contemporary British Drama

'Upstart Crows'
Adaptation in Theatre and Performance

von: Graham Saunders

90,94 €

Verlag: Palgrave Macmillan
Format: PDF
Veröffentl.: 14.10.2017
ISBN/EAN: 9781137444530
Sprache: englisch

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Beschreibungen

<div>This book examines British playwrights' responses to the work of&nbsp;Shakespeare and his contemporaries since 1945, from Tom Stoppard's&nbsp;<i>Rosencrantz and Guildenstern are Dead</i>&nbsp;to Sarah Kane’s <i>Blasted </i>and Jez Butterworth’s <i>Jerusalem.</i>&nbsp;Using the work of Julie Sanders and others working in the fields of Adaptation Studies and intertextual criticism, it argues that this relatively neglected area of drama, widely considered to be adaptation, should instead be considered as appropriation -&nbsp;as work that often mounts challenges to the ideologies and orthodoxies within Elizabethan and Jacobean drama, and questions the legitimacy and cultural authority of Shakespeare’s legacy.&nbsp;The book discusses the work of Howard Barker,&nbsp; Peter Barnes, Edward Bond, Howard Brenton, David Edgar, Elaine Feinstein and the Women’s Theatre Group, David Greig, Sarah Kane, Dennis Kelly, Bernard Kopps, Charles Marowitz, Julia Pascal and Arnold Wesker.</div>
<div>Contents.-&nbsp;Acknowledgements.-&nbsp;1. Introduction: Appropriating the Past.-&nbsp;2. Why Rewrite Shakespeare & his Contemporaries?.- 3. A Host of Lears: Howard Barker's Seven Lears, Elaine Feinstein's Lear's Daughters and Sarah Kane’s Blasted.-&nbsp;4. ‘Love in the Museum’: Howard Barker, the Erotic and the Classical Text.-&nbsp;5. ‘If Power Change Purpose’: Appropriation and the Shakespearian Despot.-&nbsp;6. Anyone for Venice? Wesker. Marowitz & Pascal Appropriate The Merchant of Venice.-&nbsp;7. Festive Tragedy: Jez Butterworth’s Jerusalem.-&nbsp;Bibliography.-&nbsp;Index.</div>
<p><b>Graham Saunders</b> is Allardyce Nicol Professor of Drama Arts at the University of Birmingham, UK. He is author of <i>Love me or Kill me: Sarah Kane and the Theatre of Extremes</i> (2002), <i>About Kane: the Playwright and the Work</i> (2009), <i>Patrick Marber’s Closer</i> (2008) and <i>British Theatre Companies 1980-1994</i> (2015). He is co-editor of <i>Cool Britannia: Political Theatre in the 1990s</i> (Palgrave, 2008) and <i>Sarah Kane in Context </i>(2010).</p>
This book examines British playwrights' responses to the work of Shakespeare and his contemporaries since 1945, from Tom Stoppard's <i>Rosencrantz and Guildenstern are Dead</i> to Sarah Kane’s <i>Blasted </i>and Jez Butterworth’s <i>Jerusalem</i>. Using the work of Julie Sanders and others working in the fields of Adaptation Studies and intertextual criticism, it argues that this relatively neglected area of drama, widely considered to be adaptation, should instead be considered as appropriation - as work that often mounts challenges to the ideologies and orthodoxies within Elizabethan and Jacobean drama, and questions the legitimacy and cultural authority of Shakespeare’s legacy. The book discusses the work of Howard Barker, &nbsp;Peter Barnes, Edward Bond, Howard Brenton, David Edgar, Elaine Feinstein and the Women’s Theatre Group, David Greig, Sarah Kane, Dennis Kelly, Bernard Kopps, Charles Marowitz, Julia Pascal and Arnold Wesker.
Argues that contemporary playwrights' responses to Elizabethan and Jacobean drama should be considered appropriation rather than adaptation Explores a range of derivative works, from Tom Stoppard's Rosencrantz and Guildenstern are Dead and Jez Butterworth's Jerusalem Interrogates the nature of borrowing and appropriation in dramatic work Includes supplementary material: sn.pub/extras

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