Masumların Savaşı ve Gücün Zaferi: Birinci Dünya Savaşı ve Theatre Workshop’un "Oh What A Lovely War"u (original) (raw)
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Unlisted character : on the representation of war and conflict on the contemporary stage
2011
The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21 century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state of exception has become the status quo. Seminal studies on contemporary warfare and society such as Mary Kaldor's New & Old Wars (2005) and Ulrich Beck's World at Risk (2008 [2007]) trace how the face of war has changed over the past fifteen years. The dramatic texts examined in this thesis reach from plays depicting inner-state conflict, civil war and the politics of fear, for...
British Theatre and the Great War 1914-1919
2015
The Introduction and contents of a new essay collection from Palgrave. Contributors discuss the roles played by the theatre industry during the First World War. They draw on a range of source materials to show the different kinds of theatrical provision and performance cultures in operation not only in London but across parts of Britain and also in Australia and at the Front. ...It also has a great cover!
Personal Narratives, Peripheral Theatres: Essays on the Great War (1914–18)
Second language learning and teaching, 2018
The First World War retains a profound hold over the contemporary consciousness. In Britain those who fought for the country in all wars are still remembered on the anniversary of Armistice Day in 1918, while one web-site lists over 200 books in English published in the past five years about the conflict which include "the Great War" in the title (Amazon 2015). The fact that the phrase "the Great War" still has currency in reference to a century-old experience, and after all of the wars that have happened since, implies the degree to which its impact is still felt, and also the possibility that if its "greatness" ever meant it was a glorious enterprise, it no longer applies. However, the notion that British political leaders used the phrase liberally in the hope of winning a propaganda and recruiting victory 100 years ago would not be accurate, and instead a brief survey of its use (and non-use) at that time provides a revealing image in which some of the most powerful political and media figures often acted with public trepidation, while those who overtly promoted war against Germany were relatively marginal. I include a relatively full examination of opinions expressed in Punch magazine because I believe its attempts to appeal to a conservative, well-healed, distinctly nonintellectual readership, a constant pursuit of current conformity, offer a good guide to "respectable" views of the time. 1 The Oxford English Dictionary records the first use of the phrase about the 1914-1918 war as being in a Canadian publication, Maclean's Magazine, in October 1914, 2 in an article about the nascent conflict: "Some wars name themselves. .. This is the great war" (Simpson 1991, 703). Other accounts, such as Patricia Treble's (2014), accept this as the earliest known use about the First World War. Earlier campaigns had been given the description, so that the Napoleonic Wars, for example in the 1911 book British Statesmen of the Great War: 1793-1814 and Narratives in Some Passages from the Great War with France, from 1799 to 1810, from 1854, were thought to have been "great", plausibly both to signify how momentous it was and that "we" (Napoleon's opponents) won. Judging by the later of the two above-mentioned publications, for a hundred years right until the start of World War One, in Britain "the Great War" had meant the series of battles against
Journal of Contemporary Drama in English, 2018
In her compelling study, Lara Stevens combines two key strands of discussion in contemporary drama which have received increasing attention in theatre criticism lately: the question of how theatre and performance engage with and protest against the 'War on Terror' on the one hand and the relevance of Brechtian epic theatre for twenty-first-century political theatre on the other. Interested in particular in "how contemporary anti-war plays work to influence spectator responses to the violence of war after the terrorist attacks of 9/11" (1) and with a considerable personal investment in the topic, aiming "to understand how deeply I [as a Western subject from an allied nation] was implicated in these conflicts" (1), Stevens examines the role of theatre as a locus of resistance where alternative spaces and perspectives can be created "outside the normative and highly controlled frames of the mainstream media" (2). Integral to the book's investigations and to its understanding of political theatre is Bertolt Brecht, whose model of epic theatre is fruitfully brought into dialogue with the political and philosophical conditions of a post-Marxist, globalised and postmodern world in order to shed light on theas Stevens convincingly arguessignificant value of Brecht's ideas for the contemporary stage.
The Unlisted Character: Representing War on Stage
Oxford, United Kingdom, 2010
This essay considers the theatrical representation of the individual and war in a time of disintegrating national states. Springing from the discussion about ‘new wars’ in the age of globalisation, it is demonstrated how these ‘new wars’ also generate new plays about war, illustrated by Caryl Churchill's "Far Away" (2000) and Zinnie Harris's "Midwinter" (2004). Examining the possible connections between socio-political research and the artistic representation of war on stage, the essay demonstrates a shift in the traditional antagonisms between dramatic personae, as the new war plays show their protagonists in confrontation with an unlisted character: the war machine.
Forms of Conflict: Contemporary Wars on the British Stage, Exeter, University of Exeter Press, 2015.
This full-length study investigates a range of formal strategies deployed by theatre-makers in Britain in response to the new wars of the global age. By almost general consensus, the final years of the 20th century mark a watershed between ‘old’ and ‘new’ wars, that is to say between traditional, Clausewitzean patterns of conflict and the hybrid forms of belligerence that have come to characterize the new world order. Establishing a connection between modes of warfare and modes of representation, this study tries to assess the impact of this full-fledged paradigm shift on contemporary dramaturgy. While mainly focusing on work produced around or after the terrorist attacks of 11 September 2001, a time when the inadequacy of traditional strategic and cultural models became all too palpable, it also examines plays that have prefigured these developments by providing aesthetic answers to dilemmas of representation that were only just beginning to come into focus. In many respects, the sense of urgency with which the British stage has committed to the task of providing new interpretive tools for understanding this changed landscape has acted as a powerful motor for formal innovation. Faced with the challenge of registering the novelty and the complexity of the current model of warfare, dramatists and theatre-makers have directed their inquisitive gaze inwards as well as outwards, reflecting critically and creatively on the limits and the possibilities of the medium they work with and in this way contributing to its continued cultural and political relevance.
Theatres of War: Experimental Performance in London, 1914–1918 and Beyond
British Art Studies, 2019
stories which connect them with the artistic and political ambitions of the London little theatres. Cumulatively, they work to change the story of the arts in Britain in the early twentieth century, by demonstrating the reach, persistence, and vitality of experimental theatre in the period of the First World War.
Theatre during the Second World War
A History of Polish Theatre, ed. K. Fazan, M. Kobialka, B. Lease, Cambridge University Press, 2021
Poland is celebrated internationally for its rich and varied performance traditions and theatre histories. This groundbreaking volume is the first in English to engage with these topics across an ambitious scope, incorporating Staropolska, the Polish-Lithuanian Commonwealth, the Enlightenment and Romanticism within its broad ambit. The book also discusses theatre cultures under socialism, the emergence of canonical practitioners and training methods, the development of dramaturgical forms and stage aesthetics and the political transformations attending the ends of the First and Second World Wars. Subjects of far-reaching transnational attention such as Jerzy Grotowski and Tadeusz Kantor are contextualized alongside theatre makers and practices that have gone largely unrecognized by international readers, while the participation of ethnic minorities in the production of national culture is given fresh attention. The essays in this collection theorize broad historical trends, movements and case studies that extend the discursive limits of Polish national and cultural identity.