Smith, Ali. “Just”. Shell Connections 2005: New Plays for Young People, Faber and Faber, pp. 275-24.
317
Connections Sort descending | Author name | Excerpt |
---|---|---|
Textual Features | Claire Luckham | The metatheatrical first act takes place during rehearsals for William ShakespeareRomeo and Juliet (in which Kemble made her triumphant stage debut on 5 October 1829); in it Kemble's aunt Sarah Siddons
instructs her niece on playing... |
Textual Features | Adrienne Rich | This volume's title and epigraph are taken from The Great Gatsby. Like AR
's other works, Dark Fields of the Republic reflects a diverse group of artistic and social influences, which include the Bible... |
Textual Features | Angela Carter | According to Linden Peach
, the writings of Bertolt Brecht
and Mikhail Bakhtin
influenced AC
's notions of theatre and the carnivalesque, which are central features of Nights at the Circus. However, Peach went... |
Textual Features | Ali Smith | Although certainly located in the Brechtian
tradition of epic theatre, with its political resonances and self-referentiality, it is likewise identifiable as theatre of the absurd (as AS
points out), Smith, Ali. “Just”. Shell Connections 2005: New Plays for Young People, Faber and Faber, pp. 275-24. 317 |
Textual Features | Caryl Churchill | Churchill employs Brecht
ian alienation techniques in her songs, which she specifies are not part of the action and should if possible be sung by actors in modern dress. Churchill, Caryl. Plays: One. Methuen. 133 |
Textual Features | Caryl Churchill | Churchill encourages cross-gender and cross-racial casting. Joshua, a black servant who appears to have been thoroughly brainwashed by colonialist ideology, is to be played by a white actor (a decision motivated by there being no... |
Textual Features | Pam Gems | Structured along the lines of Brecht
ian epic theatre, but filmic in many of its methods, PG
's drama presents a sequence of episodes from the life of the seventeenth-century Swedish ruler Queen Christina
.... |
Textual Production | Dorothy Richardson | In 1932 DR
missed out on a chance to work with Bertolt Brecht
. Shortly after the release of The Dubarry, of which her translation received excellent notices, she received a request from Brecht... |
Textual Production | Anne Devlin | After writing for television, AD
was drawn to live theatre because of the medium's relative freedom from censorship and its enduring qualities: It is Literature. When you create a character in the theatre you are... |
Textual Production | Elaine Feinstein | In a historical novel or fictional biography entitled Loving Brecht, EF
presented Frieda Bloom, an invented cabaret singer, relating her life with Bertolt Brecht
, in Germany (Berlin), Moscow, and the USA... |
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