Module convenor: Dr Liz Barry (firstname.lastname@example.org; office H537)
The module will serve both as an introduction to contemporary theatre and as a first investigation of the relationship between literary texts and the conditions of performance. Major plays of the period will be studied in their own right but also as examples of trends and developments in the period. Design, theatrical architecture, performance styles, organisations and repertoires will be studied, with special attention to assumptions concerning the social role of the drama. Where possible, texts will be related to specific productions. Writers studied will normally include: John Osborne, Arnold Wesker, Samuel Beckett, Harold Pinter, Edward Bond, Caryl Churchill, Brian Friel.
'It wasn't until director Dominic Cooke arrived at Warwick University in 1985 that he began to understand theatre's capacity to be both a political and a moral force. Fittingly enough, it was the Royal Court that seized his attention:
"We did this brilliant course, which was basically all about the Court – about the shift from TS Eliot's The Cocktail Party to Look Back in Anger, right through Wesker, Bond, all those writers. Plays that really engaged, which were asking questions."'
Dominic Cooke, Artistic Director of the Royal Court Theatre (Guardian, 29.1.2011)
Recommended reading over the summer:
Incoming students might want to purchase, and have a look at, the core anthology for the first term, Methuen Drama Book of Plays from the Sixties (Bloomsbury/Methuen, 2008), which contains quite a few of the plays we'll be looking at.
For a general introduction to the period and theatre, students could look at Dominic Shellard's British Theatre since the War (Yale University Press, 2000).
Otherwise/ in any case just see any plays that you can over the summer!
Pattern of the Module:
Term 1: Postwar British theatre: Realism and the Absurd
Term 2: Plays after 1968: exploring national, personal and gendered identity
Term 3: Contemporary theatre: student-led syllabus
Week 1: Introduction
Week 2: John Osborne, Look Back in Anger; The Entertainer scenes 1, 2, 7 and 13
(this and all subsequent seminars as per your individual timetable)
Week 3: Shelagh Delaney, A Taste of Honey *; Arnold Wesker, Roots *$;
Reading: Dwight McDonald, ‘A Theory of Mass Culture’
Week 4: Harold Pinter, The Birthday Party*; Mountain Language
Week 5: Samuel Beckett, Happy Days*; Not I
Reading: from Martin Esslin, TheTheatre of the Absurd
Week 6: Reading Week (no seminar)
Week 7: Anne Jellicoe, The Sport of My Mad Mother
Reading: From Michelene Wandor, Look Back in Gender (Draft essay due)
Week 8: Errol John, Moon on a Rainbow Shawl
Week 9: John Arden, Serjeant Musgrave's Dance* $
Reading: From Bertolt Brecht, The Messingkauf Diaries
Week 10: Edward Bond, Saved; Early Morning $
* film/TV/filmed version available on video/ DVD from the library
$ in the Methuen Drama Book of Plays from the Sixties
Week 1: Joe Orton, Loot $
Reading: Susan Sontag, ‘Notes on Camp’; Foucault, from The History of Sexuality (on ‘the repressive hypothesis’)
Week 2 Steven Berkoff, Metamorphosis*;
Reading: Peter Thompson, ‘The Psychology of Alienation’ (Assessed Essay 1 due)
Week 3: Caryl Churchill, Top Girls+*
Reading: Judith Butler, ‘Performative Acts and Gender Constitution’
Week 4: Terry Johnson Hysteria+
Reading: Freud, The Interpretation of Dreams; The Freud-Fliess Correspondence
Week 5: Brian Friel, Translations
Reading: Richard Kearney, ‘Language Play: Brian Friel and Ireland’s Verbal Theatre’
Week 6: Reading Week (no seminar)
Week 7: Martin McDonagh, The Beauty Queen of Leenane+; Lieutenant of lnnishmore
Reading: Nicholas Grene, ‘Ireland in Two Minds’
Week 8: Sarah Kane, Blasted+;
Reading: Aleks Sierz, ‘Cool Britannia: In-Yer-Face Theatre Today’
Week 9: Mark Ravenhill, Shopping and F* * *ing+ (Assessed Essay 2 due)
Week 10: Debbie Tucker Green, Stoning Mary
$ in the Methuen Drama Book of Plays from the Sixties
+ - in The Methuen Book of Modern Drama: Plays of the 80s and 90s
* - film/TV version available
Teaching is seminar-based, with weekly 2 hour sessions.
Assessment is by three essays, each of c.2,500 words.
There is also a non-assessed essay in term 1 - this is compulsory, but formative, i.e. its mark does not count towards the final module mark. You do need to complete this essay to pass the module, however! This will be a drafting exercise: the non-assessed essay will form the basis of your first assessed essay.
In order to test relationships between text and performance on the contemporary stage, one essay should be on a play seen in production.
Click on the link below for information on essay-writing workshops and the Royal Literary Fund Writing Fellows, who can give you one-to-one advice on your work, in particular in terms of writing style and argumentation:
These types of specialist writing tuition will make a huge difference to your competence at and enjoyment of the essay-writing process - I can't recommend them highly enough.
Each essay will have the following elements:
• A full bibliography, including publication details, showing evidence of secondary critical reading.
• Short title references within the text, referring to the works in the bibliography at the end, eg. (The Birthday Party, 45) or (Complete Works, 97) after quotations to indicate page numbers.
• The essay will be anonymous, but will have your student number on every page.
1.Students should consider buying two anthologies: The Methuen Book of Plays from the Sixties (Methuen 2008) and The Methuen Book of modern drama: Plays of the '80s and '90s (Methuen 2001).
Many of the plays we will study are also available online via Drama Online -- see the library catalogue.
If you do want to buy hard copies, please note that several plays are published both as individual texts and in collected editions (e.g. Pinter’s The Birthday Party is published separately and in Pinter: Plays Vol. One). Check the library catalogue and the bookshop.
2.In some cases (e.g. Berkoff’s Metamorphosis) the principal text will be a video/DVD production.
Suggested Background Reading:
Dominic Dromgoole: The Full Room, Methuen 2000b
David Edgar, ed. State of Play , Faber 1999
Christopher Innes: Modern British Drama 1890-1990, Cambridge 1992
Stephen Lacey: British Realist Theatre: The New Wave in Its Context 1956-1965, Routledge, 1995
Dan Rebellato: 1956 And All That - The Making of Modem British Drama, Routledge 1999
Dominic Shellard: British Theatre since the War, Yale 2000
Aleks Sierz: In Yer Face Theatre, Faber 2001
Taylor, John Russell: Anger and After, Penguin1964
Micheline Wandor: Look Back in Gender, Methuen 1987
Students arc very strongly encouraged to read theatre periodicals in the library to keep up with new developments: n.b. Plays and Players, Theatre Record, New Theatre Quarterly.
Banham, Martin, John Osborne (Edinburgh, 1969)
Barker, Howard, Arguments for a Theatre (London: John Calder 1989)
Beckett. Samuel, Happy Days: Samuel Beckett's Production Notebook, ed by James Knowlson (London: Faber, 1985)
Michael Billington, The Life and Works of Harold Pinter (London: Faber and Faber, 1996)
Browne, Terry, Playwright's Theatre: The English Stage Company at the Royal Court Theatre (London: Pitman, 1975)
Bull, John, New British Political Dramatists (London: MacMillan, 1984)
Case,Sue-Ellen, Feminism and Theatre (Basingstoke: Macmillan, 1988)
- Performing Femininities: Feminist Critical Theory and Theatre (Baltimore and London: Johns Hopkins University Press, 1990)
- Split Britches: Lesbian Practice, Feminist Performance (London: Routledge, 1996)
Cousin, Geraldine, Churchill The Playwright (London: Methuen, 1989)
- Women in Dramatic Space and Time: Contemporary Female Characters on Stage (London: Routledge, 1996)
Coult, Tony, The Plays of Edward Bond (London: Methuen, 1977)
Craig,Sandy (ed.), Dreams and Deconstructions, Alternative Theatre in Britain (Ambergate: Amber Lane, 1980)
Cronin, Anthony, Samuel Beckett, The Last Modernist (New York: Harper Collins, 1997)
Dominic Dromgoole, The Full Room (London: Methuen, 2000)
Dutton, Richard, Modem British Tragicomedy and the British Tradition: Beckett, Pinter & Stoppard (Brighton: Harvester Wheatsheaf, 1986)
Edgar, David, State of Play (London: Faber, 1999)
Esslin, Martin, The Theatre of the Absurd (Harmondsworth: Penguin, 1987)
- Pinter, A Study of His Plays (London: Eyre Methuen, 1973)
Fitzsimmonds, Linda, File on Churchill (London: Methuen, 1989)
Goodman, Elizabeth, Contemporary Feminist Theatres (London and New York: Routledge, 1993)
Goorney, Howard, The Theatre Workshop Story (London: Methuen, 1981)
lnnes, Christopher, Modem British Drama 1890 - 1990 (Cambridge: CUP, 1992)
ltzin, Catherine, Stages in the Revolution.- Political Theatre in Britain Since 1968 (London: Methuen, 1980)
Lacey, Stephen, British Realist Theatre: The New Wave In Its Context 1956-1965 (London: Routledge, 1995)
Lahr, John (ed), The Orton Diaries (London: Methuen, 1986)
Leeming, Glenda, Wesker the Playwright (London: Methuen, 1983)
Chris Megson, Modern British Playwriting: The 1970s (London: Methuen, 2012)
McGrath, John, A Good Night Out (London: Methuen, 1981)
Milling, Jane, Modern British Playwriting: The 1980s (London: Methuen, 2012)
Nicholson, Steve, Modern British Playwriting: The 1960s (London: Methuen, 2012)
Pattie, David, Modern British Playwriting: The 1950s (London: Methuen, 2012)
Peacock, D. Keith, Thatcher's Theatre (London: Greenwood, 1999)
Rebellato, Dan, 1956 And All That (London: Routledge, 1999)
- Modern British Playwriting: 2000-2009 (London: Methuen, 2012)
Roberts, Philip, The Royal Court Theatre and the Modem Stage (Cambridge: Cambridge University Press, 1999)
- Edward Bond: A Companion to His Plays (London: T.Q. Publications, 1978)
Shellard, Dominic, British Theatre since the War (London and New Haven:Yale, 2000)
Sierz, Aleks, In Yer Face Theatre (London, Faber: 2001)
- Modern British Playwriting: The 1990s (London: Methuen, 2012)
Sked, Alan and Cook, Chris, Post War Britain, A Political History (Harmondsworth: Penguin, 1988)
Taylor, John Russell, Anger and After (Harmondsworth: Penguin, 1964)
Wandor, Michelle, Look Back in Gender (London, Methuen, 1987)
- Carry on Understudies (London, Routledge & Kegan Paul, 1986)
You are also encouraged to read more widely in the works of playwrights who particularly interest you. Several writers are the subject of monographs not listed here: consult the library catalogue.