Marta Wiszniowska …by action dignified… BRITISH THEATRE 1968-1995: TEXT AND CONTEXT Wydawnictwo UMK Toruń 1997, p. 420 Okładka miękka ISBN 83-231-0869-2 Książka nowa CONTENTS: Preface – p. 9 Chapter 1. THE LEGACY OF THE SIXTIES – PROSPECTS FOR THE SEVENTIES 1. Modifying the Legacy – p. 19 a) Lord Chamberlain – p. 19 b) Economy, politics and theatre – p. 21 c) Cultural politics – p. 24 2. Prospects of the Seventies – p. 28 a) The fringe – ideologies and influences – p. 28 b) Community theatre – the theatre of seventies – p. 39 c) Women’s lib and the theatre – p. 44 3. Revolutions and Revolutions – p. 52 a) David Hare – doubting political commitment – p. 52 b) The seventies in motion – p. 58 Chapter 2. THE EIGHTIES – NEW DEVELOPMENTS 1. Anticipations – p. 66 a) Martin Esslin on the coming eighties – p. 66 b) Political eighties – p. 69 c) Theatrical eighties – p. 72 d) The seesaw of crisis and hope – p. 80 e) The alternative of crisis – p. 84 2. ...And the Reality – p. 86 a) “Old radicals never die... they just vote conservative” (Ali, grant 1983) – p. 86 b) Theatre of catastrophe – Howard Baker’s assessment and theory – p. 89 3. New Directions in Feminist Theatre – p.94 4. On the Threshold of the Nineties – p. 102 a) New arrivals and significant departures – p. 102 b) Theatre: figures and issues – p. 106 c) Change of guards? – p. 108 Chapter 3. ADAPTING ELIZABETHANS FOR THE MODERN STAGE: SHAKESPEARE AND MARLOWE VERSUS MAROWITZ, BOND, STOPPARD, THACKER AND JARMAN – p. 110 1. Shakespeare Rediscovered – p. 110 2. Marowitz and the Classics in the Sixties – p. 115 3. <i> A Macbeth</i> by Marowitz – p. 117 4. Edward Bond and <i>Lear</i> – p. 128 5. Tom Stoppard’s Dogg’s Hamlet and Cahoot’s Macbeth - p. 137 6. Beyond Adaptation – The Case of Lady Othello – p. 152 7. Directions’ Theatre: Derek Jarman’s Edward II by Marlowe and David Thacker’s Julius Caesar - p. 154 8. Conclusion – p. 159 Chapter 4. THE IDEA OF NATIVE TRADITION – THE DISPUTE WITH NATIVE TRADITION. DRAMA AND HISTORY – p. 165 1. The Making of Historical Drama – p. 165 2. The Most Spectacular Downfall of King Arthur, Cromwell and Others – p. 175 3. The People’s War in the Theatre and on TV – p. 187 4. Politicising Recent history: Griffiths versus Edgar – p. 197 5. History as Madness, Disease and Cruelty – p. 204 6. History and Contemporaneity – Selective Raids into History – p. 209 7. Conclusion – p. 212 Chapter 5. AT THE CROSSROADS OF THE HISTORICAL AND CONTEMPORARY – POLITICAL THEATRE – p. 217 1. Theatre and the World Around Britain – p. 220 a) Stoppard goes East – p. 221 b) Howard goes East – p. 228 c) Hare goes East – p. 236 d) Generalising the issue: Harold Pinter’s One for the Road, Mountain Language, Party time and The New World Order - p. 242 2. State of the Nation Plays – p. 246 a) Britain’s corridors of power in David Hare’s trilogy – p. 246 a) Politics and the Mainstream – p. 256 b) State of Revolution - p. 257 c) Trevors Griffiths’ revolutions old and new – p. 260 d) Howard Brenton: politics of terrorism – p. 266 e) A word from Bond – p. 271 3. History of the Present – War and Revolution in Eastern Europe – p. 276 4. Conclusion – p. 283 Chapter 6. WOMEN AND THE THEATRE, HERSTORY AND HIS STORY OF HER – p. 285 1. Herstory – p. 288 2. His Story of Her – p. 308 3. Conclusion – p. 322 Chapter 7. POSTMODERN THEATRE IN POSTMODERN SOCIETY – p. 325 1. Evolution in the Domestic – p. 327 a) <i>Old Times’ Passion</i> and <i>Betrayal</i> – p. 328 b) Jimmy Porter 35 years later - <i>Déjàvu</i> - p. 341 c) Chronicle of the present - <i>The Secret Rapture</i> – p. 348 d) Provincial England Revised – p. 355
e) Friel’s Ireland – 358 f) Violence and victimisation: Equus - p. 362 g) Theatralizing the domestic: The Real Thing - p. 365 2. The Absurd Legacy – p. 368 3. Revolution in the Domestic – p. 374 a) Commedy: One more American can’t make any difference (Stoppard, Dirty Limen, 71) – p. 374 b) Thriller on stage: From Agatha Christie to Agatha christie – p. 374 c) Aimed to entertain: Alan Ayckbourn – a paradigm of the entertainment industry – p. 382 d) Towards to Arcadia? – p. 385 4. Conclusion – p. 388 8. SUMMING UP – p. 392 1. Assessing the Present – p. 392 2. Looking for Aesthetic Evaluations – p. 397 3. Assessing the Future – p. 398 SELECTED BIBLIOGRAPHY – p. 401 1. Playtext – p. 401 2. Criticism – p. 404 ...grą uszlachetnić... TEATR BRYTYJSKI 1968-1995: TEKST I KONTEKST (streszczenie) – p. 415