Analyses appropriations of King Lear in post-war British drama Since the events of the Holocaust, playwrights have variously appropriated King Lear to respond to the catastrophes of modern times. With case studies on the works of Edward Bond, David Rudkin, Howard Barker, Sarah Kane, Forced Entertainment and Dennis Kelly, the book explores a range of theatres of catastrophe in post-war British drama and the role that Lear has played in new forms of post-Holocaust tragedy and tragic freedom. Plays are situated in a wider critical and cultural discourse around Shakespeare and the Holocaust and…mehr
Analyses appropriations of King Lear in post-war British drama Since the events of the Holocaust, playwrights have variously appropriated King Lear to respond to the catastrophes of modern times. With case studies on the works of Edward Bond, David Rudkin, Howard Barker, Sarah Kane, Forced Entertainment and Dennis Kelly, the book explores a range of theatres of catastrophe in post-war British drama and the role that Lear has played in new forms of post-Holocaust tragedy and tragic freedom. Plays are situated in a wider critical and cultural discourse around Shakespeare and the Holocaust and the post-Auschwitz philosophical aesthetics of Theodor Adorno, whose influence on post-war playwriting remains profound. Richard Ashby is Visiting Research Fellow at the Institute of Advanced Studies.
Dr Richard Ashby obtained his PhD from Royal Holloway, University of London and is now a Visiting Research Fellow at Senate House Library and an Honorary Research Associate at Royal Holloway, University of London. His research concentrates on the afterlives of Shakespeare and other early modern writers and dramatists, particularly in periods of crisis and catastrophe. He has published articles in Shakespeare, Textual Practice, Adaptation, Contemporary Theatre Review, Cahiers Élisabéthains and Comparative Drama and has spoken at various national and international conferences. He is currently working on the presence and meanings of Shakespeare in Holocaust testimony.
Inhaltsangabe
Acknowledgements Introduction 1. 'After' Auschwitz 2. Why King Lear? 3. 'Strange Mutations': The History of King Lear 'After' Auschwitz 4. 'The Man Without Pity is Mad': Edward Bond's King Lears and the Dialectic of Engagement 5. 'Rudkin I Nothing Am': Edgar, Exile and Self Re-Authorship in David Rudkin's Will's Way 6. 'WHAT IS THIS GOOD?': The Ethics and Aesthetics of the 'Good Life' in Howard Barker's Seven Lears 7. 'Thought you were dead': Dover Cliff, Death and 'Ephemeral Life' in Sarah Kane's Blasted 7.1 Postscript, Writing and Performing from the Rubble: Forced Entertainment, Five Day Lear and Table Top Shakespeare: The Complete Works 8. 'And I was struck still...': Nature, The Sublime and Subjectivity in Dennis Kelly's The Gods Weep Conclusion, 'Storm Still' Bibliography Index.
Acknowledgements Introduction 1. 'After' Auschwitz 2. Why King Lear? 3. 'Strange Mutations': The History of King Lear 'After' Auschwitz 4. 'The Man Without Pity is Mad': Edward Bond's King Lears and the Dialectic of Engagement 5. 'Rudkin I Nothing Am': Edgar, Exile and Self Re-Authorship in David Rudkin's Will's Way 6. 'WHAT IS THIS GOOD?': The Ethics and Aesthetics of the 'Good Life' in Howard Barker's Seven Lears 7. 'Thought you were dead': Dover Cliff, Death and 'Ephemeral Life' in Sarah Kane's Blasted 7.1 Postscript, Writing and Performing from the Rubble: Forced Entertainment, Five Day Lear and Table Top Shakespeare: The Complete Works 8. 'And I was struck still...': Nature, The Sublime and Subjectivity in Dennis Kelly's The Gods Weep Conclusion, 'Storm Still' Bibliography Index.
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