The pressure of Thatcherism on theatre funding in the eighties were severe, but the early harshness was tempered by several factors. One was the positive influence of the Cork Report, particularly on touring and experimental theatre. Another, the authors believe, was a careful strategy of reallocation of funding to support creativity in English theatre, notably through the touring franchise scheme. Here, they analyze in detail the ways in which the English Arts Council operated the scheme in an attempt to revitalize aspects of English theatre from 1986 onwards, trace the change in the values of 'political' theatre over that period, and critically examine some received ideas in the light of the available evidence.
States that all major cities are now competing with each other to attract cultural tourists. Notes that Prague, since the Velvet Revolution, has been distinctive in using the city itself as a cultural icon, also capitalizing on the artists associated with it to create performances that present an idealized and imagined Prague, the city as its own persona. Indicates that since tourists might hesitate to go to Czech-language drama, theatrical entrepreneurs instead offer puppet opera, Black Theatre, and Laterna Magika - forms closely associated with Prague, and which circumvent the language problem. Explains that during the summer, when the regular theaters close, Prague theatricalizes itself for tourist consumption.
Davis and O'Sullivan argue that not only have Augusto Boal's methods been far from revolutionary for many years, but that they are now focused on individual needs, enabling the individual to survive a little longer within an oppressive social structure. They propose that this is not a case of Marxist revolutionary ideology becoming diluted over time, but that the roots of the change are to be found in a lack of grounding in Marxist theory and philosophy from the beginning.
The work of the French playwright Bernard-Marie Koltes, although phenomenally successful in continental Europe, has been staged less frequently in Anglo-American theatres, and a major feature on his work in NTQ49 in February 1997, and the publication by Methuen later in the same year of a collection of three of his plays in English translation, brought him only belated recognition in print. In this paper, first presented at a recent gathering in France to mark the tenth anniversary of Koltes's death, Maria Delgado and David Fancy trace the trajectory of a number of his plays through the space of translation, including Roberto Zucco, Dans la solitude des champs de coton (In the Solitude of the Cottonfields), Quai Ouest (Quay West), and Combat de negre et de chiens (Black Battles with Dogs). Koltes asserts in 1986 that 'I have always somewhat disliked the theatre because theatre is the opposite of life; but I always come back to it and love it because it is the one place where you can say: this is not life'; and the poetic specificity of his work has posed significant challenges for an Anglo-American theatre culture imbued with actors' identification with character. Relying on testimonials from a variety of directors, translators, and actors,as well as evidence from productions in the UK, Ireland, and the US, the authors, who are both Koltes translators, trace the challenges that have faced English-speaking artists wishing to stage this demanding writer.
Discusses the connections that exist between the high-imperial Victorian love of glasshouses, which at once created and constrained their theater of nature, and the massive 1990's ecological experiment of Biosphere II - a gigantic glass ark the size of an aircraft hangar situated in the Southern Arizona desert, which embraces all the main types of terrain in the global eco-system. Presents the author's thoughts on the problem of creating an ecologically meaningful theater.
Presents information on the playwright Sarah Kane, including a chronology of her life, brief discussions of her plays and film, and lists her published playtexts, filmscript, and journalism. Includes a bibliography of interviews with her and profiles of her, as well as secondary sources.