So close was the relationship between women and the Irish literary and theatrical renaissance that the severely diminished feminist role in contemporary Irish cultural and theatrical life contrasts all the more revealingly with the early achievements. The historical and present situation of women's theater are examined.
Yvonne Brewster is best known in the UK as artistic director of Talawa Theatre, which uses the ancient African ritual and black political experience to inform, enrich and enlighten British theater. In an interview, Brewster discusses her work.
It is argued that Dada and Surrealist theater had a strongly marked anti-oedipal tendency during the French avant-garde drama of the Expressionist period. It is suggested that their polemics against the family and paternal law contrast with the increasing prominence given to Freud's masterplot in Expressionism.
Analogies from dance and design are used to explore the perceptions of and attitudes towards the postmodernist theatre practitioners who may once have broken boundaries, but who now often head the line for lavish corporate finance.
The plays of Howard Barker are probably more fervently admired and resolutely disliked than those of any other British dramatist of his generation. Aspects of postmodernism in two of Barker's plays, "The Last Supper" and "The Bite of the Night," are discussed.