Churchill, Caryl. Plays: One. Methuen.
133
Connections | Author name Sort descending | Excerpt |
---|---|---|
Occupation | Maya Angelou | In Cairo the African-American journalist David Du Bois
helped MA
to get a job as assistant editor on a new English-language weekly called the Arab Observer (the only non-male, non-Arab, non-Muslim on its staff). In... |
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... |
Intertextuality and Influence | Hannah Arendt | |
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 |
Intertextuality and Influence | Anne Carson | AC
's contributions include rendering Fragment 286 by the Greek poet Ibykos
in the manner successively of various more modern voices: John Donne
, Samuel Beckett
, Franz Kafka
, an FBI
report on Bertolt Brecht |
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 | 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 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... |
Intertextuality and Influence | Elaine Feinstein | Home in this collection opens, Where is that I wonder? It then evokes comfortable, elegant settings of both childhood and adult life, and also a place where the poet awakes from dreaming of her dead... |
Intertextuality and Influence | Elaine Feinstein | The range of allusion in these poems is extraordinarily wide although the tone is never pretentious. Gluttony is described as a ballad after the manner of Bert Brecht
. Feinstein, Elaine. Gold. Carcanet. 49 |
Leisure and Society | Margaret Forster | MF
also acted while at Oxford, taking the role of the peasant girl Grusha in a production of Brecht
's The Caucasian Chalk Circle that was directed and starred in by Dennis Potter
. During... |
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
.... |
Occupation | Germaine Greer | During this period she added film to stage performance in it droppeth as the gentle rain, a surrealist work by Albie Thoms
(who was later an avant-garde film-maker of some fame). Designed to be... |
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