Description
Book SynopsisCan theatre change the world? If so, how can it productively connect with social reality and foster spectatorial critique and engagement? This open access book examines the forms and functions of political drama in what has been described as a post-Marxist, post-ideological, even post-political moment. It argues that Bertolt Brecht's concept of dialectical theatre represents a privileged theoretical and dramaturgical method on the contemporary British stage as well as a valuable lens for understanding 21st-century theatre in Britain. Establishing a creative philosophical dialogue between Brecht, Walter Benjamin, Theodor W. Adorno and Jacques Rancière, the study analyses seminal works by five influential contemporary playwrights, ranging from Mark Ravenhill's in-yer-face' plays to Caryl Churchill's 21st century theatrical experiments. Engaging critically with Brecht's theatrical legacy, these plays create a politically progressive form of drama which emphasises notions of negativity, am
Trade ReviewAn impressive and persuasive study, paying close and scrupulous attention to a selection of well-chosen and significant dramatic works to show how the Brechtian mode has endured through adaptation to a transformed political and critical context. * Journal of Contemporary Drama in English *
Hartl is able to expose new and interesting facets in her analysis of the plays ... the argumentation is rigorous, circumspect, and well-informed throughout. * The Brecht Yearbook *
Dramaturgically informed and philosophically astute, Hartl makes a compelling argument for Brecht’s contribution to today’s theatre. Focused on British playtexts, the book clarifies the centrality of Brecht’s materialist dialectics in sharp-eyed readings of performances responding to neo-liberal globalization and post-postmodern relativism. Updating Brecht’s strategies of spectatorship, negation and contradiction, this book is required reading for anyone concerned about new forms of dialectical realism on the stage. * Marc Silberman, University of Wisconsin-Madison, USA *
An eloquent, lucidly argued investigation of Brecht’s legacy in post-1990s British theatre, this book probes “the potential of Brechtian-inspired theatre to spur resistance and ideological critique in a decidedly anti-dialectical age.” Anja Hartl incisively clarifies dialectics as a worldview rooted in openness rather than dogma, illuminating the ways in which Brechtian concepts find renewed urgency and fresh forms in the work of an exciting and important cluster of contemporary playwrights. * Clare Wallace, Charles University, Czech Republic *
Table of ContentsAcknowledgements Introduction Revisiting Brecht’s Dialectical Theatre Rethinking Dialectics via Adorno and Rancière Towards a Post-Brechtian Theatre
1. ‘In-Yer-Face’ Theatre and the Crisis of Dialectics: Mark Ravenhill’s Post-Brechtian Drama in Anti-Dialectical Times 1.1 The Post-Brechtian Parable:
Some Explicit Polaroids 1.2 Resisting the Banal Dialectic of (Counter-)Terrorism:
Shoot/Get Treasure/Repeat 1.3 Conclusion
2. Reimagining Brecht: David Greig’s Theatre of Dissensus 2.1 Appropriating the Imagination in
Dunsinane 2.2 Interrupting Empathy:
The Events 2.3 Conclusion
3. Strategic Naivety: The Dialectic of Sincerity in Andy Smith and Tim Crouch’s Work 3.1 Post-Brechtian Meta-Theatre:
all that is solid melts into air 3.2 The Limits of Sincerity:
The Author 3.3 Conclusion
4. Political Theatre Between Dialectics and Absurdity: Caryl Churchill’s Twenty-First-Century Plays 4.1 Dystopian Negativity:
Escaped Alone 4.2 Deconstructing the Dialectic:
Here We Go 4.3 Conclusion
Conclusion Bibliography
