By David Ian Rabey
Considers the bids of successive post-war dramatists to discover language and pictures of remorseless disclosure, acceptable to the general public manifestation of sensed concern and the interrogation of the appropriate of renewal David Rabey introduces the interval and its discourse whereas redefining them, to offer right attention to advancements of topics, types, issues and contexts from the 80s to the current. The ebook bargains succinct and analytical introductions to the paintings of 60 dramatists, whereas arguing for (re)appraisal of many dates severe views, on the way to stimulate additional argument within the box. For these drawn to glossy English drama.
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Extra resources for English Drama Since 1940
P. 96. 30. Trussler, The Plays of John Whiting (1972), p. 17. 31. , p. 30. 32. Wood, Introduction to John Whiting’s Saint’s Day (London, 1963), pp. vi–vii. 33. Robinson, A Private Mythology (1988), p. 64. 34. , p. 73. 35. Robinson, op. , p. 80. 36. A comparison made by Michael Mangan on reading a draft of this chapter. 37. Op. , p. xxxii. 38. Wood: ‘Pride and ambition were the most powerful motives in Coriolanus as in Forster; both did the state great service but incurred the hostility of the representatives of democracy; and both owed their defeat to allowing human feelings to temper military ruthlessness’, Introduction to Whiting’s Marching Song (1956), pp.
JP/Osborne (deliberately and selfconsciously conﬂated) proclaims himself ‘a spokesman for no one but myself ’ and mocks a social (and theatrical) climate in which ‘Everyone demands 35 English Drama Since 1940 solutions, like happiness, as their right’, resisting ‘piety’ and ‘the noise and clamour of those who would impose their certainties upon us’. Osborne’s equation of certainty with mediocrity concludes the play and his dramatic work (‘Mediocrity is a great comforter. . And very democratic.
31 Whiting’s A Penny for a Song (Theatre Royal, London, 1951; RSC, 1962, Whitehall Theatre, 1999) satirises the acceptance of warfare in an occasionally farcical, occasionally Shavian comedy, a precisely ‘sentimental’ play from a characteristically unsentimental writer. I use the term ‘sentimental’ here in the manner of Laurence Sterne: not a maudlin self-indulgence, but a sensory apprehension of others’ behaviour, attempting a sympathy with other persons, notwithstanding the impossibility of full communication when social life is constructed from habitual actions which create a narrowness of perception, a monotony of being, and ultimate pervasive loneliness (the name of one of the characters, Edward Sterne, further suggests this lineage).