New collection redefines Wesker's place within theatre culture and questions the canonical boundaries associated with his work. Re-evaluating his legacy with new archival material, it explores his eclectic aesthetic range as well as his unerring...
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Kommunikations-, Informations- und Medienzentrum der Universität Hohenheim
Fernleihe:
keine Ausleihe von Bänden, nur Papierkopien werden versandt
New collection redefines Wesker's place within theatre culture and questions the canonical boundaries associated with his work. Re-evaluating his legacy with new archival material, it explores his eclectic aesthetic range as well as his unerring concern for the human condition: a lasting 'vision' from hopeful socialists in the 1950s-60s. 18 illus. Front Cover -- Half Title -- Frontispiece -- Title Page -- Copyright Page -- Table of contents -- Part 1 Early Visions -- 1 Radical Chic? Centre 42, the Roundhouse and How Culture Countered Wesker in the 1960s -- Wesker's 1960s: Cultural and Political Context -- Roots and knots -- Roundhouse: The rise and fall -- Friends (and foes and funds) -- Conclusions -- Notes -- References -- 2 Introducing Mr Harold Wesker -- Theatrical contemporaries -- Bridges, pauses and silences -- Dramatists of conviction -- Jewish dramatists -- Notes -- References -- 3 Roots: A Political Poem -- 4 The Enigma That Is Pip: A Character under Construction in Wesker's Chips with Everything -- The Conscripts -- Never trust the author? -- Notes -- References -- 5 Wesker's Flawed Diamond: Their Very Own and Golden City -- 'It does work' -- Antecedents and influences -- 'Patchwork' politics -- 'Poet [of] committed theatre' -- 'So much better than Serjeant Musgrave, darling!' -- Conclusion -- Notes -- References -- Part 2 Unifying Fragments -- 6 'Let Battle Commence!': The Wesker Controversies -- 'Critic as Censor': Wesker versus reviewers -- 'One of us is mad': Wesker versus directors -- 'However admirable they may be': Wesker versus other playwrights -- 'Stand up and be counted': Wesker and global politics -- Conclusion: 'Perhaps I don't play the game' -- Notes -- References -- 7 Representing Jewishness and Antisemitism in Arnold Wesker's Work: Shylock, Badenheim 1939 and Blood Libel -- Shylock -- Badenheim 1939 -- Blood Libel -- Conclusion -- Notes -- References -- 8 Wesker's French Connections -- From Racines to Souvenirs fantômes -- Enter: Les metteurs-en-scène -- Crrritique! -- Conclusion -- Notes -- References -- 9 Wesker the Visual Artist - 'Ah! Sweet Mystery of Life!' -- How I met Arnold Wesker -- Artistic collaborations -- A visual artist.
Verlag:
Intellect, Bristol
;
ProQuest, Ann Arbor, Michigan
This new collection redefines Wesker's place within theatre culture and questions the canonical boundaries associated with his work. Re-evaluating his legacy with new archival material, it explores his eclectic aesthetic range as well as his unerring...
mehr
This new collection redefines Wesker's place within theatre culture and questions the canonical boundaries associated with his work. Re-evaluating his legacy with new archival material, it explores his eclectic aesthetic range as well as his unerring concern for the human condition: a lasting 'vision' from hopeful socialists in the 1950s-60s. 18 illus.
