MARC 主機 00000nam a2200457 i 4500
001 978-3-030-39427-1
003 DE-He213
005 20200817170813.0
006 m o d
007 cr nn 008maaau
008 200429s2020 sz s 0 eng d
020 9783030394271|q(electronic bk.)
020 9783030394264|q(paper)
024 7 10.1007/978-3-030-39427-1|2doi
040 GP|cGP|erda
041 0 eng
050 4 PN2101|b.A384 2020
072 7 AN|2bicssc
072 7 PER011000|2bisacsh
072 7 ATD|2thema
082 04 792|223
245 00 After in-yer-face theatre :|bremnants of a theatrical
revolution /|cedited by William C. Boles
264 1 Cham :|bSpringer International Publishing :|bImprint:
Palgrave Macmillan,|c2020
300 1 online resource (xvi, 251 pages) :|billustrations,
digital ;|c24 cm
336 text|btxt|2rdacontent
337 computer|bc|2rdamedia
338 online resource|bcr|2rdacarrier
347 text file|bPDF|2rda
505 0 1. Chapter One: Introduction: Reflections on In-Yer-Face
from the Other Side of the Atlantic; William C. Boles --
2. Chapter Two: "In the Pursuit of New Writers": The Royal
Court Young Peoples' Theatre and the Development of First
Time Playwrights in the 1990s; Nicholas Holden -- 3.
Chapter Three: "A Shop Window for Outrage": Harold
Pinter's Ashes to Ashes, In-Yer-Face Theatre and the Royal
Court's 1996 West End Season; Graham Saunders -- 4.
Chapter Four: "The Last Rolo": Love, Conflict and War in
Anthony Neilson's Penetrator; Rachael Newberry -- 5.
Chapter Five: Mark Ravenhill's Dialectical Emotions: "In-
Yer-Face" as Post-Brechtian Theater; Anja Hartl -- 6.
Chapter Six: Undressing Sarah Kane: A Portuguese
Perspective on In-Yer-Face; Catia Faisco -- 7. Chapter
Seven: Russian "In-Yer-Face Theatre" as a Problem or a
Process; Elena Dotsenko -- 8. Chapter Eight: Surfing the
Wave of In-Yer-Face Theatre on Australian Shores; Sandra
Gattenhof -- 9. Chapter Nine: The Hidden Dialogue between
Sarah Kane and Edward Bond: The Dramaturgy of Accident
Time and Ethical Subjectivities; Chien-Cheng Chen -- 10.
Chapter Ten: From "In-Yer-Face" to "In-Yer-Head": Staging
the Mind in Martin Crimp, Sarah Kane and Anthony Neilson;
Solange Ayache -- 11. Chapter Eleven: Philip Ridley: Still
In-Yer-Face; Thomas A. Oldham -- 12. Chapter Twelve: Tales
from the East End: Dialogic and Confessional Storytelling
as Therapy (?) in the Plays of Philip Ridley; Cath Badham
-- 13. Chapter Thirteen: Joe Penhall's Fatherhood Plays:
Escaping the Influence of Sam Shepard and the Lad; William
C. Boles -- 14. Chapter Fourteen: "Experiential, not
speculative": Love In and After In-Yer-Face; Korbinian
Stockl -- 15. Chapter Fifteen: The Echo Chamber: Theater
in a "Post-Truth" World
520 This book revisits In-Yer-Face theatre, an explosive,
energetic theatrical movement from the 1990s that
introduced the world to playwrights Sarah Kane, Martin
McDonagh, Mark Ravenhill, Jez Butterworth, and many
others. Split into three sections the book re-examines the
era, considers the movement's influence on international
theatre, and considers its lasting effects on contemporary
British theatre. The first section offers new readings on
works from that time period (Antony Neilson and Mark
Ravenhill) as well as challenges myths created by the
Royal Court Theatre about the its involvement with In-Yer-
Face theatre. The second section discusses the influence
of In-Yer-Face on Portuguese, Russian and Australian
theater, while the final section discusses the legacy of
In-Yer-Face writers as well as their influences on more
recent playwrights, including chapters on Philip Ridley,
Sarah Kane, Joe Penhall, Martin Crimp, Dennis Kelly, and
Verbatim Drama
650 0 Theater|xHistory
650 14 Contemporary Theatre
650 24 Theatre History
650 24 National/Regional Theatre and Performance
650 24 Performing Arts
700 1 Boles, William C.,|eeditor
710 2 SpringerLink (Online service)
773 0 |tSpringer eBooks
856 40 |uhttps://doi.org/10.1007/978-3-030-39427-1
912 Springer|b110906304615
