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Table Of Contents

Introduction: How Should We Live?
Political determinism: ‘either/or’
Dramatic dayenglish and nightenglish: ‘both/and’
1940–56: Reconciliation and Dissociation
Patterning poetics
Absolute Hell and The Deep Blue Sea
John Whiting: learning how to die
Out of 1956: A Rising Generation
John Osborne: just like a man
Arnold Wesker: melancholy optimism
Samuel Beckett: burning to be gone
Harold Pinter: the enemy within
Arden and D’Arcy: anarchy v. closure
Mercer: where the difference begins
Nichols and Wood: smile, boys, smile
Performing possession/possessing performance
Bond: Blind Power
From Cooper to Orton: curious rooms
Gray, Frayn, Leigh, Stoppard: irony in the soul
Ayckbourn and Bennett: blood and chocolate
Peter Barnes v. the basilisk of authority
Howard Brenton: perverse freedoms
David Hare: tragedies of manners
David Edgar: through a glass darkly
Stephen Poliakoff: beneath a rubber moon
Steven Berkoff: dance of the screamers
Caryl Churchill: reshaping reality
Timberlake Wertenbaker: persistent questioning
The imagined place: recent Welsh drama
Irish Drama: Twilights and Tigers
The lie of the land
Celtic twilights
Paradoxical significance
Dancing in the ruins?
From the 1980s to the 1990s: Trapped Enough to Belong
On the edge
Engendered rage
Cartwright: dying by instalments
Barker: Appalling Enhancements
The terrible force of inconsequence
Coming closer
The mark of Kane: how should we die?
Epilogue: wordskill
General Bibliographies
(i) Historical and cultural context, 1940–2001
(ii) Theatrical context of drama in the period
(iii) English drama 1940–2001
Individual Authors
Notes on biography, works and criticism
Longman Literature in English Series
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Published by: MsDionea on Sep 07, 2010
Copyright:Attribution Non-commercial


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