MARC Record from marc_columbia

LEADER: 04103cam a2200409 a 4500
001 9024769
005 20111026001817.0
008 110106s2011 enka b 001 0 eng
010 $a 2010053222
020 $a9780521509688 (hardback)
020 $a0521509688 (hardback)
024 $a40019829868
035 $a(OCoLC)ocn695683621
035 $a(OCoLC)695683621
035 $a(NNC)9024769
040 $aDLC$cDLC$dYDX$dYDXCP
042 $apcc
043 $ae-uk---
050 00 $aPR6055.D44$bZ84 2011
082 00 $a822/.914$222
084 $aDRA003000$2bisacsh
100 1 $aReinelt, Janelle G.
245 14 $aThe political theatre of David Edgar :$bnegotiation and retrieval /$cJanelle Reinelt and Gerald Hewitt.
260 $aCambridge, UK ;$aNew York :$bCambridge University Press,$c2011.
300 $ax, 313 p. :$bill. ;$c24 cm.
490 1 $aCambridge studies in modern theatre
520 $a"David Edgar's writings address the most basic questions of how humans organize and govern themselves in modern societies. This study brings together the disciplines of political philosophy and theatre studies to approach the leading British playwright as a political writer and a public social critic. Edgar uses theatre as a powerful tool of public discourse, an aesthetic modality for engaging with and thinking/feeling through the most pressing social issues of the day. In this he is a supreme rationalist: he deploys character, plot and language to explore ideas, to make certain kinds of discursive cases and model hypothetical alternatives. Reinelt and Hewitt analyze twelve of Edgar's most important plays, including Maydays and Pentecost and also provide detailed discussions of key performances and critical reception to illustrate the playwright's artistic achievement in relation to his contributions as a public figure in British cultural life"--$cProvided by publisher.
520 $a"Political Commitment and Performative Practice 'Anybody who used to call themselves a Marxist now has fairly intense self-definitional problems'.- David Edgar (1994) 'He is an optimist who has been around'. - John Peters (1994BIB-174) Of the distinctive voices in the contemporary British theatre, David Edgar's provides the most comprehensive articulation of major political questions. His career spans more than four eventful and politically complex decades, and encompasses every variety of writing for performance including agitprop and touring pieces; community plays; radio, film and television plays; and large-scale plays produced in the major national venues such as the Royal Shakespeare Company and the National Theatre. In addition, Edgar has maintained a high profile as a public intellectual, engaging in depth with a wide variety of political issues through newspaper opinion pages, journal essays, and book reviews, as well as via frequent public speaking engagements before a variety of organizations including the Commission on Racial Equality; the Royal Society of Arts, Manufacturing and Commerce; the Fabian Society; and the annual Marxism conference"--$cProvided by publisher.
504 $aIncludes bibliographical references and index.
505 8 $aMachine generated contents note: 1. Introduction: political commitment and performative practice; 2. Intervening in public discourse: Edgar as discursive arbiter; 3. Things fall apart: after ideology in Continental Divide and Maydays; 4. Governing memberships: Destiny, Playing with Fire and Testing the Echo; 5. A legend in your own time: The Jail Diary of Albie Sachs, Mary Barnes and Albert Speer; 6. Socialism's aftermath: The Shape of the Table, Pentecost and The Prisoner's Dilemma; 7. Conclusion: negotiating retrieval.
600 10 $aEdgar, David,$d1948-$xCriticism and interpretation.
650 0 $aPolitical plays, English$xHistory and criticism.
650 0 $aPolitics and literature$zGreat Britain$xHistory$y20th century.
650 7 $aDRAMA / English, Irish, Scottish, Welsh$2bisacsh
700 1 $aHewitt, Gerald.
830 0 $aCambridge studies in modern theatre.
852 0 $bglx$hPR6055.D44$iZ84 2011