Provides the first dedicated study on appropriations of King Lear in British playwriting of the post-war, developing valuable new perspectives on the legacy of Shakespeare in post-war drama and culture.
Provides the first dedicated study on appropriations of King Lear in British playwriting of the post-war, developing valuable new perspectives on the legacy of Shakespeare in post-war drama and culture.
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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