Description
Book Synopsis“New Readings in British Drama: From the Post-War Period to the Contemporary Era” offers new readings of British plays produced after the Second World War by underlining the fact that literary theories have never been stagnant and exhausted in the field of drama as part of literary studies. Scholarly editions focusing exclusively on contemporary drama and its critical readings are still a rarity, as contemporary literary scholars tend to neglect drama in favour of fiction. Therefore, our contributors have attempted to examine the works of Tom Stoppard, Caryl Churchill, Sarah Kane, Roy Williams, Mark Ravenhill, Thomas Eccleshare, Anders Lutsgarten and Jackie Kay from the perspectives of the major theories by emphasising how key theoretical approaches can help elucidate theatrical texts and their performances from a contemporary critical standpoint.
Table of ContentsIntroduction — Mehmet Akif Balkaya : The Unbearable Absence of Existence: The Post- Structuralist Condition in Tom Stoppard’s After Magritte — Gül Kurtuluş : Memory, Gender and Innovation in Caryl Churchill’s Cloud Nine: The Brechtian Legacy in the Postmodern Theatre — Mesut Günenç : Deciphering Postdramatic Tragedy in Sarah Kane’s Phaedra’s Love — Enes Kavak and Gökçe Akarık : Nostalgia and Identity Crisis of Black British Characters in Roy Williams’s The No Boys Cricket Club — Mustafa Bal : Apocalypse In- Yer- Face: Mark Ravenhill’s Faust Is Dead — Özlem Karadağ : Becoming Human/ oid: A Posthumanist Critique of Thomas Eccleshare’s Instructions for Correct Assembly — Hakan Gültekin : Post- Neoliberalism, Free Market and Disillusionment: Anders Lustgarten’s If You Don’t Let Us Dream, We Won’t Let You Sleep — Pelin Doğan : “An International Crossroads of Female Pain.” Intersectional Feminism: Jackie Kay’s Chiaroscuro — Notes on Contributors .
