Modern British Playwriting: The 1990s

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A01=Aleks Sierz
A32=Catherine Rees
A32=Graham Saunders
A32=Mr Mark Ravenhill
A32=Philip Ridley
A32=Trish Reid
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Author_Aleks Sierz
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B09=Philip Roberts
B09=Richard Boon
Category1=Non-Fiction
Category=AN
Category=ATD
Category=DSBH
Category=DSG
Category=JF
COP=United Kingdom
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Language_English
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Product details

  • ISBN 9781408129265
  • Weight: 360g
  • Dimensions: 134 x 212mm
  • Publication Date: 24 May 2012
  • Publisher: Bloomsbury Publishing PLC
  • Publication City/Country: GB
  • Product Form: Paperback
  • Language: English
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British theatre of the 1990s witnessed an explosion of new talent and presented a new sensibility that sent shockwaves through audiences and critics. What produced this change, the context from which the work emerged, the main playwrights and plays, and the influence they had on later work are freshly evaluated in this important new study in Methuen Drama's Decades of Modern British Playwriting series.

The 1990s volume provides a detailed study by four scholars of the work of four of the major playwrights who emerged and had a significant impact on British theatre: Sarah Kane (by Catherine Rees), Anthony Neilson (Patricia Reid), Mark Ravenhill (Graham Saunders) and Philip Ridley (Aleks Sierz).

Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twenty-first century. This is an authoritative and stimulating reassessment of British playwriting in the 1990s.

Dr Aleks Sierz is Visiting Professor at Rose Bruford College and author of The Theatre of Martin Crimp and Rewriting the Nation. Series editors: Richard Boon, Professor and Director of Research in the Department of Drama and Music, University of Hull, and Philip Roberts, Emeritus Professor in the School of English, University of Leeds.

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