Smith, Ali. “Just”. Shell Connections 2005: New Plays for Young People, Faber and Faber, pp. 275-24.
317
Connections Sort ascending | Author name | Excerpt |
---|---|---|
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... |
Textual Features | Claire Luckham | Scum takes place in a laundry at the time of the Paris commune (between September 1870 and January 1871). Making use of the Brechtian
techniques of song and direct address, the play establishes connections between... |
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
.... |
Residence | Sybille Bedford | Later, after the Reichstag fire in the spring of 1933, distinguished exiles from Nazi Germany, Jews and left-wingers who got out early, began to choose Sanary as their temporary home: Bertolt Brecht
, Thomas Mann |
Reception | Sarah Kane | A propos the Sheffield production of 2015, Alan Bennett
commented on the difficulty of achieving realism with such extreme violence: how can a character mutilated on stage be shown as having attention for anything at... |
politics | Hannah Arendt | After the Reichstag fire of 27 February 1933, Günther Stern fled to Paris (fearing the Gestapo would catch up with him as a contact of Bertolt Brecht
). HA
remained in Berlin, and associated herself... |
Performance of text | Michelene Wandor | Since the early 1990s, MW
has turned her attention to music. Her libretti and radio plays include works based on poems by John Cornford
, John Milton
, and Ariosto
: Spain, first performed... |
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