References and Bibliography

A Drama Texts

ALBEE, EDWARD (1964) Who's Afraid of Virginia Woolf? A Play (London: Jonathan Cape). ARDEN, JOHN and MARGARETIA D'ARCY (1974) The !sland of the Mighty (London: Eyre Methuen). ARTAUD, ANTONIN (1964) 'Les Cenci' in Oeuvres Completes, vol. iv, pp. 183-271 (Paris: Gallimard). AUDEN, w. H. (1977) 'Paid on Both Sides' in The English Auden: Poems, Essays and Dramatic Writings, 1927-1939, ed. Edward Mendelson (London: Faber and Faber). AYCKBOURN, ALAN (1982) Season's Greetings (London: Samuel French). BARAKA, AMIRI (LEROI JONES) (1971) Four Black Revolutionary Plays (London: Calder and Boyars). BARNES, PETER (1978) Laughter! (London: Heinemann). BECKETI, SAMUEL (1958) Endgame, A Play in One Act Followed by Act Without Words, A Mime for One Player (London: Faber and Faber). BECKETI, SAMUEL (1959) Krapp's Last Tape and Embers (London: Faber and Faber). BECKETI, SAMUEL (1961) Happy Days. A Play in Two Acts (London: Faber and Faber). BECKETI, SAMUEL (1972) Words and Music, Play, Eh Joe (Paris: Aubier-Flammarion). BECKETI, SAMUEL (1977) Ends and Odds, Plays and Sketches (London: Faber and Faber). BERGMAN, INGMAR (1974) Scenes from a Marriage, trs. Alan Blair (New York: Bantarn).

154 References and Bibliography 155

BERKOFF, STEVEN (1977) East, Agamemnon, Fall of the House of Usher (London: J. Calder) .. BERKOFF, STEVEN (1983) Decadence and Greek (London: John Calder). BERKOFF, STEVEN (1989) I Am Hamlet (London: Faber and Faber). BERKOFF, STEVEN (1989) Decadence and Other Plays: Eas­ t/West/Greek (London: Faber). BLEASDALE, ALAN (1983) Boys From the Blackstuff. Five Plays for Television (London: Granada). BOLD, ALAN (1969) The State of the Nation (London: Chatto and Windus). BOND, EDWARD (1966) Saved (London: Methuen). BOND, EDWARD (1977) Plays: One (London: Eyre Methuen). BOND, EDWARD (1978) The Bundle or New Narrow Road to the North (London: Methuen). BOND, EDWARD (1980) The Worlds, with the Activist Papers (London: Eyre Methuen). BRECHT, BERTOLT (1965) The Messingkauf Dialogues, trs. John Willett (London: Methuen). BRENTON, HOWARD (1980) The Romans in Britain (London: Eyre Methuen). BULLINS, ED (1972) Four Dynamite Plays (New York: William Morrow). CHURCHILL, CARYL (1978) Traps (London: Pluto Press). CHURCHILL, CARYL (1979) Cloud Nine (London: Pluto Press). CHURCHILL, CARYL (1983) SoJtcops and Fen (London: Methuen). CHURCHILL, CARYL (1987) Serious Money (London: Methuen). CHURCHILL, CARYL and DAVID LAN (1986) A Mouthful of Birds (London: Methuen in association with Joint Stock Theatre Group). CLEESE, JOHN and CONNIE BOOTH (1988) The Complete FA WLTY TOWERS (London: Methuen). EDEL, LEON (ed.) (1949) The Complete Plays of Henry James (London: Rupert Hart-Davis). ELIOT, T. s. (1974) The Cocktail Party, ed. Neville Coghill (London: Faber and Faber). FERLINGHETTI, LAWRENCE (1964) Routines (New York: New Direc­ tions Press). FO, DARIO (1978) We Can't Pay? We Won't Pay!, trs. Lino Pertile, 156 THE LANGUAGE OF DRAMA

adapted by Bill Colvill and Robert Walker (London: Pluto Plays). FO, DARIO (1987) Elizabeth: Amost by Chance a Woman, trs. Gillian Hanna, ed. Stuart Hood (London: Methuen). FUGARD, ATHOL (1966) Hello and Goodbye (Cape Town: A. Bal­ kema). FUGARD, ATHOL (1974) Statements (Cape Town: OUP). FUGARD, ATHOL (1980) Boesman and Lena and Other Plays (Cape Town: OUP). FUGARD, ATHOL, JOHN KANI and WINSTON NTSHONA (1974) 'Sizwe Bansi is Dead' in Athol Fugard, Statements (Cape Town; OUP). GEMS, PAM (1979) Piaf (London: Amber Lane Press). GENET, JEAN (1966, 2nd ed.) The Balcony, trs. Bernard Frecht­ man (London: Faber and Faber). GIRAUDOUX, JEAN (1958) Four Plays, trs. and adapted Maurice Valency (New York: Hill and Wang). GODARD, JEAN-LUC (1967) Made in USA (London: Lorimer Pub­ lishing). GRIFFITHS, TREVOR (1976) Comedians (London: Faber). HANDKE, PETER (1973) The Ride Across Lake Constance, trs. Michael Roloff (London: Eyre Methuen). HANDKE, PETER (1969) Kaspar trs. Michael Roloff (London: Eyre Methuen). HANDKE, PETER (1971) Offending the Audience; and Self-Accu­ sation, trs. Michael Roloff (London: Methuen). IONESCO, EUGENE (1958) Plays: Volume One, trs. Donald Watson, (London: John Calder). IONESCO, EUGENE (1962) Rhinoceros, The Chairs, The Lesson, (Harmondsworth: Penguin). JELLICOE, ANN (1962) The Knack (London: Faber and Faber). LAN, DAVID (1979) Painting a Wall (London: Pluto Press). MAMET, DAVID (1977) American Buffalo (New York: Grove Press). MCGRATH, JOHN (1977) Fish in the Sea (London: Pluto Press). MILLER, ARTHUR (1950) Death of a Salesman. Certain Private Con­ versations in Two Acts and a Requiem (New York: The Viking Press). NICHOLS, PETER (1982) Poppy (London: Methuen). References and Bibliography 157

O'NEILL, EUGENE (1922) The Emperor Jones (London: Jonathan Cape). O'NEILL, EUGENE (1923) The Hairy Ape (London: Jonathan Cape). O'NEILL, EUGENE (1925) All God's Chillun Got Wings, 1973 ed. (London: Jonathan Cape). O'NEILL, EUGENE (1947) The Iceman Cometh (London: Jonathan Cape). ORTON, JOE (1967) Crimes of Passion: The Ruffian on the Stair. The Erpingham Camp (London: Methuen). PINTER, HAROLD (1960) The Dumb Waiter (London: Methuen). PINTER, HAROLD (1961) A Slight Ache and Other Plays (London: Methuen). PINTER, HAROLD (1969) Landscape and Silence (London: Methuen). PINTER, HAROLD (1971) Old Times (London: Methuen). PINTER, HAROLD (1975) No Man's Land (London: Eyre Methuen). PINTER, HAROLD (1976a) Plays: One (London: Eyre Methuen). PINTER, HAROLD (1977) Plays: Two (London: Eyre Methuen). PINTER, HAROLD (1978) Betrayal (London: Eyre Methuen). PIRANDELLO, LUIGI (1954) Six Characters in Search of an Author, trs. Frederick May (London: Heinemann). PlRANDELLO, LUIGI (1959) Each in His Own Way and Two Other Plays, trs. Arthur Livingstone (New York: Dutton). POLIAKOFF, STEPHEN (1979) Shout Across the River (London: Methuen). POLIAKOFF, STEPHEN (1982) Favourite Nights and Caught on a Train (London: Methuen). SHEPARD, SAM (1974) The Tooth of Crime and Geography of a Horse Dreamer. Two Plays (London: Faber and Faber). SHEPARD, SAM (1975) Action and The Unseen Hand (London: Faber and Faber). SOYINKA, WOLE (1963) A Dance of the Forests (London: OUP). SOYINKA, WOLE (1973) Collected Plays (London: OUP). STOPPARD, TOM (1968) The Real Inspector Hound (London: Faber and Faber). STOPPARD, TOM (1969) Rosencrantz and Guildenstern are Dead (London: Faber and Faber). STOPPARD, TOM (1972) Jumpers (London: Faber and Faber). 158 THE LANGUAGE OF DRAMA

STOPPARD, TOM (1979) Dogg's Hamlet, Cahoot's Macbeth (London: Faber and Faber). STOREY, DAVID (1970) Home (London: Jonathan Cape). SYNGE, J. M. (1932) Plays (London: George Allen and Unwin). TERSON, PETER (1967) A Night to Make the Angels Weep in New English Dramatists II (London: Penguin). VONNEGUT, JR, KURT (1971) Happy Birthday Wanda June (New York: Delacorte Press). WARD, DOUGLAS TURNER (1966) Happy Ending. Day of Absence (New York: The Third Press). WILLIAMS, HEATHCOTE (1972) ACIDC (London: Calder and Boyars). WILMUT, ROGER and PETER ROSENGARD (1989) Didn't You Kill My Mother in Law? The Story of Alternative Comedy in Britain from the Comedy Store to Saturday Live (London: Methuen). WILSON, SNOO (1974) The Pleasure Principle (London: Methuen).

B Theatre and Drama Criticism

AERS, DAVID and GUNTHER KRESS (1982) 'The Politics of Style: Discourses of Law and Authority in Measure for Measure', Style, 16/1. 22-37. ANDERSON, MICHAEL (1980) 'Ward and Image: Aspects of Mimesis in Contemporary British Theatre', Themes in Drama, 2, 139-53. ANTONIONI, MICHELANGELO (1986) That Bowling Alley on the Tiber. Tales of a Director, trs. William Arrowsmith (New York: OUP). ARDEN, JOHN (1977) To Present the Pretence. Essays on the Thea­ tre and its Public (London: Eyre Methuen). ARMES, ROY (1976) The Ambiguous Image. Narrative Style in Modern European Cinema (London: Secker and Warburg). ARTAUD, ANTONIN (1958) The Theater and its Double, trs. M. C. Richards (New York: Grove Press). BARBERA, J. w. (1981) 'Ethical Perversity in America: Some Observations on David Mamet's American Buffalo', Modern Drama, 24, 270-5. BARTHES, ROLAND (1979) 'Barthes on Theatre', trs. P. W. Mathers, Theatre Quarterly, 9/33, 25-30. References and Bibliography 159

BASNETI-MCGUlRE, SUSAN (1980) 'An Introduction to Theatre Semiotics', Theatre Quarterly, 10/38, 47-54. BIGSBY, c. W. E. (ed.) (1981a) Contemporary English Drama, (London: Edward Arnold). BIGSBY, c. W. E. (1981b) 'The Language of Crisis in British Thea­ tre: the Drama of Cultural Pathology', in Bigsby (ed.) (1981a), 11-52. BRADBROOK, MURIEL (1972) Literature in Action. Studies in Conti­ nental and Commonwealth Society (London: Chatto and Windus). BROOK, PETER (1986) The Empty Space (London: Macgibbon and Kee). BROOKER, PETER (1988) Bertolt Brecht. Dialectics, Poetry, Politics (London: Croom Helm). BROWN, JOHN RUSSELL (1972) Theatre Language. A Study of Arden, Osborne, Pinter and Wesker (London: Allen Lane). BROWN, ROGER and ALBERT GILMAN (1989) 'Politeness Theory and Shakespeare's Four Major Tragedies' , Language in Society, 18, 159-212. BURTON , DEIRDRE (1980) Dialogue and Discourse. A Sociolinguis­ tic Approach to Modern Drama Dialogue and Naturally Occur­ ring Conversation (London: Routledge and Kegan Paul). CAPLAN, JAY (1985) Framed Narratives (Manchester: Manchester University Press). CARROLL, DENNIS (1987) David Mamet (London: Macmillan). CARTELLI, THOMAS (1986) 'Ideology and subversion in the Shakes­ pearian Set Speech', English Literary History, 53/1, 1-25. CASE, SUE-ELLEN (1988) Feminism and Theatre (London: Mac­ millan). CAVE, RICHARD ALLEN (1987) New British Drama in Performance on the London Stage: 1970 to 1985 (Gerrard's Cross: Colin Smythe). CHOTHIA, JEAN (1979) Forging a Language. A Study of the Plays of Eugene O'Neill (Cambridge: CUP). COHN, RUBY (1971) Dialogue in American Drama (Bloomington, US: Indiana University Press). CONNOR, STEVEN (1988) Samuel Beckett, Repetition, Theory and Text (Oxford: Blackwell). COOPER, MARILYN M. (1987) 'Shared Knowledge and Betrayal', Semiotica, 64/1-2, 99-118. 160 THE LANGUAGE OF DRAMA

CURTIS, JERRY L. (1974) The World is aStage: Sartre Versus Genet', Modern Drama, 17, 33-41. DAWICK, JOHN (1971) '''Punctuation'' and Patterning in The Homecoming', Modern Drama, 14, 137-46. DE TORO, FERNANDO (1988) 'Towards a Socio-Semiotics of the Theater', Semiotica, 7211-2, 37-70. DIDEROT, DENIS (1883) The Paradox of Acting, trs. W. H. Pollock, (London: Chatto and Windus). DONOGHUE, DENIS (1959) The Third Voice. Modern British and American Verse Drama (Princeton: Princeton University Press). EILENBERG, LAWRENCE I. (1975) 'Rehearsal as Critical Method: Pinter's Old Times' , Modern Drama, 18, 385-92. ELAM, KEIR (1980) The Semiotics of Theatre and Drama (London: Methuen). ELVGREN JR, GILLETTE (1975) 'Peter Terson's Vale of Evesham', Modern Drama, 18, 173-87. EVANS, GARETH LLOYD (1977) The Language of Modern Drama, (London: Dent). EVANS, GARETH LLOYD and BARBARA (eds) (1985) Plays in Review, 195fr1980, British Drama and the Critics (London: Batsford). FERGUSON, JOHN (1968) 'Nigerian Drama in English', Modern Drama, 11, 10--26. FINTER, HELGA (1983) 'Experimental Theatre and Semiology of Theatre: The Theatricalisation of Voice', trs. E. A. Walker and Kathryn Grardal, Modern Drama, 26, 501-17. FISCHER-LICHTE, ERIKA (1984) 'The Dramatic Dialogue - Oral or Literary Communication', in Schmiel and van Kesteren (eds), 1984, 137-73. FISCHER-LICHTE, ERIKA (1987) 'Performance as an Interpretant of the Drama', Semiotica 64/3-4, 197-212. GAGGI, SILVIO (1981) 'Pinter's Betrayal: Problems of Language or Grand Metatheatre?', Theatre Journal, 33/4, 504-16. GANZ, ARTHUR (1967) 'J. M. Synge and the Drama of Art', Modern Drama, 10, 57-68. GAUTAM, KRIPA (1987) 'Pinter's The Caretaker. A Study in Con­ versational Analysis, Journal of Pragmatics, 11, 49-59. GAUTAM, KRIPA and MANJULA SHARMA (1986) 'Dialogue in Waiting for Godot and Grice's Concept of Implicature', Modern Drama, 29, 580-6. References and Bibliography 161

GIDALL, PETER (1986) Understanding Beckett. A Study of Mono­ logue and Gestures in the Words of Samuel Beckett (London: Macmillan) . GREGORY, MICHAEL (1982) 'Hamlet's Voice: Aspects of Text For­ mation and Cohesion in a Soliloquy', Forum Linguisticum, 7/2, 107-22. GROTOWSKI, JERZY (1969) Towards a Poor Theatre, ed. Eugenio Barba (London: Methuen). HAY, MALCOLM and PHILIP ROBERTS (1980) Bond. A Study of His Plays (London: Eyre Methuen). HAYMAN, RONALD (1977) Artaud and After (London: OUP). HEILMAN , ROBERT and CLEANTH BROOKS (1945) Understanding Drama (New York: Henry Holt). HENNING, SYLVIE DEBEVEC (1988) Beckett's Criticial Complicity, Carnival, Contestation and Tradition (Lexington: University Press of Kentucky). HESS-LUTTICH, ERNST, W. B. (1985) 'Dramatic Discourse' , in van Dijk (ed.) (1985), 199-214. HOBSON, DOROTHY (1982) 'Crossroads'. The Drama of a Soap Opera (London: Methuen). HODGE, ROBERT and GUNTHER KRESS (1982) 'The Semiotics of Love and Power. King Lear and a New Stylistics', Southern Review, 15/2, 143-56. HOMAN, SIDNEY (1984) Beckett's Theatres. Interpretations for Per­ formance (Lewisburg: Bucknell University Press). HORNBY, RICHARD (1977) Script into Performance. A Structuralist View of Play Production (Austin: University of Texas Press). INGARDEN, ROMAN (1973) The Literary Work or Art. An Investi­ gation on the Borderlines of Ontology, Logic and the Theory of Literature. With an Appendix on the Functions of Language in the Theater, trs, G. G. Grabowicz (Evanston: Northwestern University Press). ISER WOLFGANG (1966) 'Samuel Beckett's Dramatic Language', trs. Ruby Cohn, Modern Drama, 9, 251-59. IZARD, BARBARA and CLARA HIERONYMUS (1970) 'Requiem for a Nun', Onstage and Off (Nashville: Aurora). KAVANAGH, ROBERT (1985) Theatre and Cultural Struggle in South Africa (London: Zed Books). KENNEDY, ANDREW (1973) 'The Absurd and the Hyper-Articulate in Shaw's Dramatic Language', Modern Drama, 16, 185-92. 162 THE LANGUAGE OF DRAMA

KENNEDY, ANDREW (1975) Sb; Dramatists in Search 0/ a Language. Studies in Dramatic Language (Cambridge: CUP). KIBERD, DECLAN (1979) Synge and the Irish Language (London: Macmillan) . LABELLE, MAURICE M. (1972/3) 'Artaud's Use of Language, Sound and Tone', Modern Drama 15, 383-90. LAKOFF, ROBIN and DEBORAH TANNEN (1984) 'Conversational Strat­ egy and Metastrategy in a Pragmatic Theory: the Example of Scenes From a Marriage', Semiotica, 49/3-4. 323-46. LAMONT, ROSETTE C. 'From Macbeth to Macbett' , Modern Drama, 15, 231-53. LAUGHLIN, KAREN (1985) 'Beckett's Three Dimensions: Narration, Dialogue and the Role of Reader in Play', Modern Drama, 28, 329-40. LIGHTFOOT, MARJORIE J. (1969) 'The Uncommon Cocktail Party', Modern Drama, 11, 382-95. MACKENDRICK, JOHN (1978) 'Some Reflections of a Resident Dramatist', Theatre Quarterly, 8/31, 3-6. MAROWITZ, CHARLES (1978) The Act 0/ Being (London: Secker and Warburg). MARANCA, BONNIE (ed.) (1981) American Dreams: The Imagin­ ation 0/ Sam Shepard (New York: Performing Arts Journal Publications). MELROSE, SUSAN F. and ROBIN MELROSE (1988) 'Drama, "Style", Stage' in Birch and O'Toole (eds) (1988) 98-110. MITCHELL, TONY (1984) Dario Fo Peoples' Court fester (London: Methuen). MORRISON, KRISTIN (1983) Canters and Chronicles. The Use 0/ Narrative in the Plays 0/ Samuel Beckett and Harold Pinter (Chicago: University of Chicago Press). MOTIRAM, ERIC (1984) 'The Vital Language of Impotence', Gambit, 41/11, 47-57. NICKSON, RICHARD (1984) 'Using Words on the Stage: Shaw and Granville-Barker', Modern Drama, 27, 409-19. PAGE, ROBERT (1978) 'Lavender Blue and the Critics at the Cottes­ loe', Theatre Quarterly, 8/29, 39-44. PAVIS, PATRICE (1981) 'Semiology and the Vocabulary of the Thea­ tre', Theatre Quarterly, 10/40, 74/8. PFISTER, MANFRED (1988) The Theory and Analysis 0/ Drama, trs. John Holliday (Cambridge: CUP). References and Ribliography 163

PINTER, HAROLD (1976b) 'Writing for the Theatre' in Pinter, 1976a, 9-16. PRICE, ALAN (1961) Synge and Anglo-Irish Drama (London: Methuen). QUIGLEY, AUSTIN E. (1974) 'The Dwarfs: A Study in Linguistic Dwarfism', Modern Drama, 17, 413-22. QUIGLEY, AUSTIN E. (1975) The Pinter Problem (Princeton: Prince­ ton University Press). QUIGLEY, AUSTIN E. (1979) 'The Emblematic Structure and Setting of David Storey's Plays', Modern Drama, 22, 259-76. REID, ALEC (1969) All I Can Manage, More Than I Could: An Approach to the Plays of Samuel Reckett (Dublin: The Dolmen Press). SALMON, ERIC (1974) 'Harold Pinter's Ear', Modern Drama, 17, 363-75. SARTRE, JEAN-PAUL (1976) Sartre on Theater, ed. Michel Contat and Michel Rybalka, trs. Frank Jellinek (London: Quartet Books). SCHECHNER, RICHARD (1966) 'There's Lots of Time in Godot' , Modern Drama, 9, 268-76. SCHECHNER, RICHARD and MADY SCHUMANN (eds) (1976) Ritual, Play and Performance. Readings in the Social Scienr:es/Theatre, (New York: Seabury Press). SCHECHNER, RICHARD (1981) 'The Writer and the Performance Group Rehearsing The Tooth of Crime, in Marranca (ed.) (1981), 162-68. SCHMICL, HERTA and A. VAN KESTEREN (eds) (1984) Semiotics of Drama and Theatre. New Perspectives in the Theory of Drama and Theatre (Amsterdam: John Benjamins). SHEPARD, SAM (1981) 'Language, Visualisation and the Inner Library', in Marranca (ed.) (1981) 214-20. SHORT, MICK (1981) 'Discourse Analysis and the Analysis of Drama', Applied Linguistics, II12, 180-202, reprinted in Carter and Simpson (eds) (1989), 138-68. SIMPSON, PAUL (1989) 'Politeness Phenomena in Ionesco's The Lesson', in Carter and Simpson (eds) (1989), 170-93. SOYlNKA, WOLE (1988) Art, Dialogue and Outrage. Essays on Literature and Culture (Ibadan: New Horn Press). STANTON, STEPHEN s. (1971) 'Hasenclever's Humanity: an Expressionist Morality Play', Modern Drama, 13, 406-17. 164 THE LANGUAGE OF DRAMA

STATES, BERT o. (1983) 'The Dog on Stage: Theater as Phenom­ enon', New Literary History , 14/2, 373-88. STYAN, J. L. (1960) The Elements o[ Drama (Cambridge: CUP). SZONDI, PETER (1987) Theory o[ the Modern Drama, trs, Michael Hays (Cambridge: Polity Press). UBERSFELD, ANNE (1977) 'The Pleasure of the Spectator', trs. Pierre Bouillaguet and Charles Jose, Modern Drama, 25, 127-39. WANDER, MICHELINE (1987) Look Back in Gender. Sexuality and the Family in Post-war British Drama (London: Methuen). WEST, E. J. (ed.) (1958) Shaw on Theatre (London: Macgibbon and Kee). WILLETT, JOHN (trs. and ed.) (1964) Brecht on Theatre, 2nd. ed. 1974 (London: Methuen). WILSON, SNOO (1980) 'A Theatre of Light, Space and Time', Theatre Quarterly, 10/37, 3-18. WRAY, PHOEBE (1970/1) 'Pinter's Dialogue: The Play on Words', Modern Drama, 13, 418-22. WRIGHT, ELISABETH (1989) Postmodern Brecht. A Re-Presentation (London: Routledge and Kegan Paul). ZILLIACUS, CLAS (1970) 'Samuel Beckett's Embers: "A Matter of Fundamental Sounds" " Modern Drama, 13, 216-25.

C Language, Theory and Criticism

ALLEN, KEITH (1986) Linguistic Meaning (New York: Routledge and Kegan Paul). ASHCROFT, BILL, GARETH GRIFFITHS and HELEN TIFFIN (1989) The Empire Writes Back. Theory and Practice in Post-Colonial Literature (London: Routledge). BACHELARD, GASTON (1964) The Poetics o[ Space, trs. Maria Jolas (Boston: Beacon Press). BAKHTIN, M. M. (1981) The Dialogic Imagination, trs. Caryl Erner­ son and Michael Holquist (Austin, US: University of Texas Press). BARTHES, ROLAND (1968) 'The Death of the Author', in Caughie (ed.) (1981), 208-13. BARTHES, ROLAND (1975) The Pleasure o[ the Text (New York: Hill and Wang). Relerences and Bibliography 165

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170 Index 171

Cameron, Deborah 139 dialogue 2, 14-15, 36, 48 camival 140f Diderot, Denis 30 categories of text ~ discursivity 1-3, 12, 19, 24, 33, Caught on a Train 117-20 42f, 54f, 76-7 change 5, 12, 19f, 53, 75 disturbance 39-40, 43, 56, 97f character 11,49,77,86,89 Dogg's Hamlet 35, 97 choice 77 domination 55f, 66, lOlf, 130 Chothia, Jean 143 Donoghue, Denis 80-1 Churchill, Caryl 73-4, 75, 78-9, drama criticism 1, 18 88, 137, 138-9, 140 drama use 28 Cixous, Helene 137 dramaturgy 30,79, 95 classification 23, 76f, 137-8 Cloud Nine 138-9 Each in His Own Way 66, 152 Coates, Jennifer 139-40 East 88 codes 145 Eco, Umberto 142, 152 Comedians 82 Edel, Leon 14-15 communication 3, 19, 25, 42f, Elam, Keir 120 75,76 Eliot, T.S. 80-1, 147 conflict 2,4,7, 20f, 44-5, 46, 5Of, Elizabeth: Almost By Chance a 55f, 6Of, 66f, 74-5, 88, 95, 120 Woman 85-6 Connor, Steven 7 Elvgren, Gillette Jr. 89 context 3-4,30,36,42,67,111 Embers 79-80 control 2, 4, 7f, 23, 48f, 55f, 73, empiricism 9 75, 88, 98f, l00f enabling conventions 34 conventions 2, 34-6 Endgame 97-8, 152-3 Cooper, Marilyn 58-60 Evans, Edith 41 cooperation 44-5, 46, 49-50, exchange 44-5, 56f, 58f, 77-8 55f, 6Of, 75 expectation 38, 56 Coulthard, Malcolm 103 Coveney, Michael 75 face 60f critical practice 1-2, 11, 19,28, Fanshawe, Simon 125-6 97f, 113, 149-53 Fawlty Towers 121-2 Crossroads 88 Ferlinghetti, Lawrence 95 cultural power 2-4, 149f fictions 2, 34f Cummings, E.E. 147 Figaro 8 Fo, Dario 40, 66, 85-6, 88 D'Arcy, Margaretta 6f foreigner talk 12lf Day of Absence 129-30 Foucault, Michel 9 Death of a Salesman 32 frames 2, 36, 40-1, 42, 44-5, 66, deconstruction 2, 23, 88, 97, 88,132-3 125-6 Fraser, Bruce 61-2 defamiliarisation 2, 4, 97f Freed, Barbara 122-3 deixis 4, 120 Fugard, Athol 45,76-7, 109-10, depouillement 95-7 140-2 Derrida, Jacques 54 desire 28f Garrett, Dick 132-3 Devine, George 8 Gautarn, Kripa 106-7 dialogism 4, 54f, 65-6 gaze 113f, 132 172 INDEX

Gems, Pam 137 intentions lOf, 19, 24, 35-6, 48, gender 2, 13lf 55f, 65, 75, 109 genre 29 interaction 2, 19, 24, 35-6, 48, Giraudoux, Jean 100 55f, 65, 75, 109 goals 4, 55f, 58f interpellation 4, 113f Godard, Jean-Luc 36f interpretation 2, 6f, 29f, 32, 53 Goffman, Erving 16, 108-9, 111 intertextuality 48, 54f, 66-7, 97f, grammar 38-9 111 grammelot 85-6 Ionesco, Eugene 62-4 Greek 68-71 lrigary, Luce 137 Greer, Germaine 132-3 It Bees Dat Way 127-8 Griffiths, Trevor 82 Izard, Barbara 10 Grotowski, Jerzy 7 James, Henry 14-15 Hamlet 16, 25-26, 33, 96-7 James, William 42 Handke, Peter 46-8,49-50, 55, Jellicoe, Ann 10 116-17, 135-6 Judd, Judith 149 Hanna, Gillian 85-6 Jumpers 33 Happy Birthday Wanda June 137 Happy Days 82 Kani, John 109-10 Happy Ending 128-9 Kaspar 49-50, 116-17 Harns, Sandra 98-100 Kavanagh, Robert 88-9 Hasenclever, Walter 95-6 King Lear 16 Hay, Maleolm 31 knowledge 59-60 Hayman, Ronald 84 Kristeva, Julia 142 Heilman, Robert 8 Hello and Goodbye 76-7 Labelle, Maurice 83 Hemingway, Emest 143 Lakoff, Robin 56-7, 133-5, 139 Henning, S.D. 152-3 Lan, David 50, 75 heteroglossia 65 Laughter 125 Hieronymous, Clara 10 Le Carre, John 84 Hill, Bemard 41 Levinson, Stephen 60, 64-5, 120 him 147 lexical meaning 55 Hitchcock, Alfred 40 liberal humanism 9 Home 43-5 liberation 23, 53, 145f homosexuality 124-6 Lightfoot, Marjorie 80-1 Homby, Richard 30 literary criticism 11f, 90 Hough, Graham 13 Look Back in Anger 26-7 Humanity 95-6 Lowell, Robert 143 humour 12lf Luckmann, Thomas 42 idealism 49-50, 55-6 Macbeth 29 identity 49-53, 106, 111, 113f, McCawley, J ames 150 138-9, 144f McGrath, John 48-9 ideology 2, 42f, 75, 77, 97f McWhinnie, Donald 79 illusion 45f Made in USA 37-8 implicature 57f Madheart 126-7 Ingarden, Roman 11, 13 Major Barbara 14 Index 173

Malina, ludith 40 Pinter, Harold 20-1, 29, 31, 59, Mamet, David 67-8 83,100-107 Man and Superman 14 Pirandello, Luigi 66, 82, 152 Marowitz, Charles 17 Playboy of the Western Marxism 19, 42 World 144 Mendelson, Edward 142 Poliakoff, Stephen 74-5, Miller, Arthur 32-3 117-120 Mind Your Language 122 politeness strategies 6lf mise-en-scene 11 Poppy 121 modality 68 popular culture 73, 86, 91 Moonlighter 72 post-colonialism 4, 135-6, 145f Mortimer, lohn 40 power 2, 19f, 44, 55, 77, 93, 126 Motherlode 95 praxis 2, 18, 19f, 28f, 33, 36, 42, moves 44-5, 77-9, 103f 71, 73, 75, 85f, 88, 97, 111, 136, Mühlhäusler, Peter 123-4 140, 150 multiplicity 2, 11, 18, 24, 30, 32, privilege 8f, 11, 18, 26f, 89 115 production 28-9, 84 propositions 98-101 Nichols, Peter 121 Nickson, Richard 13-15 questions 98-101 Nigeria 14~7 Quigley, Austin 104-5 Nolen, William 61-2 non-standard English 85f, 93, racism 12lf 143f radio 79f, 84, 86 No Surrender 41 Raskin, Victor 132 Ntshona, Winston 109-10 rationality 60f reading 97f Offending the Audience 116 realities 2, 6f, 32f, 34f, 40f, 73, Old Times 100-1 80, 153 Olivier, Laurence 33, 41 referencing 20-3 O'Neil, Eugene 92-5, 143 register 77, 104-5 Open Space Theatre 17 Reid, Alec 8, 9, 152 oppression 53, 104-5, 137-8 representation 22, 35 order 48f Requiem for a Nun 10 Orton, loe 86-8 resistance 88 Osborne, lohn 2~7 Roberts, Philip 31 ostranenie 98 roles 2,60f, 101-2, 108f, 13~7, Othello 17 149-50 Rosencrantz and Guildenstern are Painting a Wall 50-3 Dead 9~7 pan tomi ne 121 Rosengard, Peter 131 paradigmatic choice 38-9 routines 4, 5~7, 67-8, 108f participant relations 104 Royal Court Theatre 14 performance 2, 3, 18f, 24, 26f, Royal Shakespeare Company 6f 28f Rumpole of the Bailey 40 Peter, lohn 27 Rushdie, Salm an 146 Pfister, Manfred 14 phatic exchange 43-4 Sandburg, Carl 143 174 INDEX

Sartre, Jean-Paul 21-2, 108-9, The Caretaker 106-7 148-9, 153 The Cenci 83 scansion 80-2 The Cocktail Party 80-1 Scene From a Marriage 56-7, The Dumb Waiter 104 133-5 The Dwarfs 104-5 Schechner, Richard 12, 40 The Emperor Jones 92-3 Schiffrin, Deborah 111 The Empty Space 31 Season's Greetings 124 The Hairy Ape 143 semiotics lOf, 15-16, 76 The Iceman Cometh 93-4 sense 33, 34f, 48, 53 The Island of the Mighty 6f Serious Moves 140 The Knack 10 sexuality 4, 131f The Lesson 62-4 Shaw, George Bernard 14-15 The Lion and the Jewel 145-6 Shepard, Sam 12, 50, 90-93 The Madwoman of Chaillot 100 'Shit on the Spirit' 84-5 The Messingkauf Dialogues 10 Shout Across the River 74-5 The Outcry 14 Simpson, Paul 62-3 The Pleasure Principle 123 Sinc1air, John 103 The Pope's Wedding 136-7 Six Characters in Search of an The Real Inspector Hound 66 Author 82 The Ride Across Lake Sizwe Bansi is Dead 109-10, Constance 46-8, 55, 135-6 140-2 The Road 144-5 Softcops 73-4 The Romans in Britain 31 South Africa 50f, 88-9, 109-11, The Ruffian on the Stair 86-8 140f The Russia House 84 Soyinka, Wole 41-2, 144-9 The Tooth of Crime 12, 50, 91 stage directions 11, 14-15, 92-3 The Unseen Hand 90 staging 6, 12-13 The Voysey Inheritance 14 standard English 85f, 93, 95-6 The Worlds 23 States, Bert 41 The Young Ones 131-2 stereotypes 2, 4, 93, 121f Tomaszewski, Henry 97 Stomping on the Cat 125-6 Towards a Poor Theatre 7 Stoppard, Tom 33, 35, 66, 67, 96 Traps 77-9 Storey, David 43 truth 10,33 struggle 66f Tsotsitaal 88-9 Styan, J. 8 Turner, Joan 41 sub-culture 89-91 Twain, Mark 143 subjectivity 2, 111, 113f, 120 Twisk, Russell 84 surreality 96 tyranny 16,49,66-7,89 suture 113 Synge, J. M. 143-4 universe of discourse 12, 43-4 syntagmatic relations 38-9 urban living 67f, 75, 88, 118-19

Tannen, Deborah 55-7, 133-5 value 13, 111 television soaps 13-14 variability 7, 10, 26f Terson, Peter 89 Verfremdungs effekt 97 textuality 2, 6f, I1f, 14, 29f, 53 Voloshinov, V. 54, 65-6 The Bundle 7 Vonnegut, Kurt 137 Index 175

Waiting for Godot 35, 152 wornen 125, 13lf, 138f Ward, Douglas Turner 128, 130 Women, Men and Ware, Joan 137 Language 139-40 Webster, Catherine 137 word-shock 83f Whitrnan, Walt 143 Wray, Phoebe 29, 83 Who's Afraid of Virginia Wright, Elizabeth 34 Woolf 57-8 writing 6f, 84, 123 Widdowson, Henry 111-12 Wilden, Anthony 42 X, Malcolrn 17 Willett, John 28, 31 Williarns, Heathcote 90-1 Yoruba culture 146-7 Wilrnut, Roger 131 Wilson, Snoo 123 Zilliacus, Clas 79-80 Wittgenstein, Ludwig 19, 35 Zirnin, Susan 60-1