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David Hare's Stuff Happens a Dramatic Journey of American War
International Letters of Social and Humanistic Sciences Submitted: 2015-12-31 ISSN: 2300-2697, Vol. 67, pp 57-69 Accepted: 2016-02-16 doi:10.18052/www.scipress.com/ILSHS.67.57 Online: 2016-03-04 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2016 David Hare’s Stuff Happens A Dramatic Journey of American War on Iraq Elaff Ganim Salih1, Hardev Kaur2, Mohamad Fleih Hassan3 Faculty of Modern Languages and Communication, Universiti Putra Malaysia, Serdang, Kuala Lumpur, Malaysia 1*[email protected] [email protected] [email protected] Keywords: Verbatim theatre; Stuff Happens; Orientalism; David Hare. ABSTRACT The war launched by America and its allies against the country of Iraq on 2003 was a debatable and notorious war for the public opinion was shocked with the realization that the reasons for launching the war under the title ‘Iraq’s Mass Destruction Weapons’ were false. The tragic consequences of this war led many writers around the world to question the policy of the United States and its manipulation of facts to justify their narratives. The present study examines the American policy of invading Iraq in David Hare’s Stuff Happens. It investigates Hare’s technique of combining documentary realism with imaginative reconstruction of the arguments to dramatize the American Invasion of Iraq. Stuff Happens is a historical and political play written as a verbatim theatre. It depicts the backroom deals and political maneuvers of the Bush administration in justifying their campaign against the ‘Axis of Evil’ culminated by the war against Iraq. The verbatim theatre is the best way of showing the gap between ‘what is said and what is seen to be done’. -
Berlin/Wall: Hare’S Eyes on Two Walls of the World
Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Sayı 14, 2013, Sayfa 37-46 BERLIN/WALL: HARE’S EYES ON TWO WALLS OF THE WORLD Kağan KAYA* Abstract The theatre audience currently has a thirst for hearing the political narratives of the playwrights. As media has lost its reliability all over the world, the fans of theatre have preferred watching more political plays than TV bulletins today. As one of the leading voices of the political theatre of the world, David Hare knows what expectations the audience has and what responsibilities political drama has. He handles the results of a lot of national and international political decisions over societies and individuals in his plays. In Berlin/ Wall, which are two separate monologue readings, the British playwright portrays new life conditions of ordinary people of different communities via his own empirical observations and interviews after the two walls which were erected by world politics. This work primarily examines the sociological views and political narratives of David Hare about the present and future of Germany, Israel and Palestine among the traces of two walls. Key Words: Berlin, David Hare, Israel-Palestine, Political theatre, Two walls BERLIN/WALL: HARE’İN GÖZÜ DÜNYANIN İKİ DUVARI ÜZERİNDE Özet Günümüzde tiyatro izleyicisi, oyun yazarlarının siyasal anlatılarına şiddetli istek duyar. Medya dünya çapında güvenirliğini yitirdikçe, tiyatro takipçileri, televizyon bültenlerini izlemektense daha çok siyasal oyunlar izlemeyi tercih etmektedir. Dünya siyasal tiyatrosunun önder seslerinden biri olarak David Hare, tiyatro izleyicisin beklentilerini ve siyasal tiyatronun sorumluluklarını bilir. Oyunlarında birçok ulusal ve uluslararası siyasal kararın toplumların ve bireylerin üzerindeki sonuçlarını ele alır. İngiliz oyun yazarı, iki ayrı monolog türde okuma olan Berlin/Wall’da, kendi deneysel gözlemleri ve mülakatları yoluyla dünya siyasetinin diktiği iki duvarın ardından farklı toplumların sıradan insanlarının yeni yaşam koşullarını yansıtır. -
O'connell 2013
Towards a finer ecology: a study of fixed term subsidy for theatre in England O'Connell, C. Submitted version deposited in CURVE October 2014 Original citation & hyperlink: O'Connell, C. (2013) Towards a finer ecology: a study of fixed term subsidy for theatre in England. Unpublished MRes Thesis. Coventry: Coventry University. Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. CURVE is the Institutional Repository for Coventry University http://curve.coventry.ac.uk/open Towards a finer ecology - a study of fixed term subsidy for theatre in England. By C.O'Connell MAR September 2013 Towards a finer ecology - a study of fixed term subsidy for theatre in England. by Chris O'Connell September 2013 A thesis submitted in partial fulfilment of the Universityʼs requirements for the Degree of Master of Research Coventry University Abstract 'Towards a finer ecology - a study of fixed term subsidy for theatre in England.' This study contests that subsidy for theatre in England, as administrated by Arts Council England, is constricted by historical preoccupations that organise culture and are neither progressive to the organisation's goals as outlined in its document Great Art For Everyone (2010), nor adaptive to twenty-first century society. -
A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
In David Hare's Stuff Happens (2004) Khaled S
International Letters of Social and Humanistic Sciences Online: 2015-10-29 ISSN: 2300-2697, Vol. 62, pp 73-90 doi:10.18052/www.scipress.com/ILSHS.62.73 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2015 "Coercive Diplomacy" in David Hare's Stuff Happens (2004) Khaled S. Sirwah Department of English, Faculty of Arts, Kafreshikh University, Egypt E-mail address: [email protected]; [email protected] Keywords: coercive diplomacy, conflict, invasion, Iraq’s WMD’s, Saddam Hussein, the UN, the US, Tony Blair, war, 9/11. ABSTRACT This paper addresses George Bush the junior's decision to invade Iraq in 2003 on the plea of its weapons of mass destructions (WMD's), as delineated in David Hare's Stuff Happens (2004), a docudrama depicting the events following the 9/11 attacks and preceding the US’s invasion of Iraq. The paper explains how Bush deals with the opponents—Colin Powell, the British PM Tony Blair, and Hans Blix—opposing his decision, based on "fabricated" evidence, by employing his father's strategy of coercive diplomacy against them, depending on both his faith and his position as President. Drawing on a postcolonial approach, the analysis of Hare's piece has demonstrated two significant aspects: 1) Bush, implementing such a strategy of coercive diplomacy, has succeeded in achieving his private agenda in invading Iraq; 2) Hare is possessed of the dramatic dexterity of mixing fiction (the significant roles of the nameless fictional characters as well as the unnamed narrator-actors) with facts (the main figures of politics) for supporting play’s different conflicts. -
The Plays of David Hare Carol Homden Excerpt More Information
Cambridge University Press 978-0-521-41715-0 - The Plays of David Hare Carol Homden Excerpt More information Introduction: a statement of departure David Hare's production of King Lear opened in the Olivier Theatre on 14 December 1986 just two weeks after the end of the run of Pravda, and while The Bay at Nice and Wrecked Eggs contin- ued on the Cottesloe stage. In the autumn of 1993, Hare's trilogy on British institutions was scheduled to be performed on a single day. Such domination of the National Theatre is unparalleled in its history, and has no equivalent by a contemporary writer at the Royal Shakespeare Company; it amounts to much more than a res- idency of the kind Hare had at the Royal Court (1969-71) or Nottingham (1973) and assigns to him a privileged position within British theatre. Such status is particularly rare for a dramatist of his generation writing from a 'socialist' perspective and yet, in contrast to many of his contemporaries, Hare's work stands without any comprehen- sive study. The omission is partly explained by Hare's own deliber- ately enigmatic position, but he is also a troublesome and often troubled writer who uses his work as a way of resolving internal tensions, making systematic analysis particularly difficult. Any attempt to provide such a survey of a living and still fertile writer will inevitably be superseded, but Hare will continue to raise two eternal literary and historical problems. How do you find a critical distance on a writer whose existing plays are part of an evolving and uncompleted body of work? And since those works are them- selves an examination of the flux of contemporary experience, how do you find a distance on your own life and times? The answer to the first question has traditionally lain in compar- ison, by looking at Hare in relation to his peer group, and it is this approach which is taken by most existing critical work. -
Writing Figures of Political Resistance for the British Stage Vol1.Pdf
Writing Figures of Political Resistance for the British Stage Volume One (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Abstract This thesis explores the process of writing figures of political resistance for the British stage prior to and during the neoliberal era (1980 to the present). The work of established political playwrights is examined in relation to the socio-political context in which it was produced, providing insights into the challenges playwrights have faced in creating characters who effectively resist the status quo. These challenges are contextualised by Britain’s imperial history and the UK’s ongoing participation in newer forms of imperialism, the pressures of neoliberalism on the arts, and widespread political disengagement. These insights inform reflexive analysis of my own playwriting. Chapter One provides an account of the changing strategies and dramaturgy of oppositional playwriting from 1956 to the present, considering the strengths of different approaches to creating figures of political resistance and my response to them. Three models of resistance are considered in Chapter Two: that of the individual, the collective, and documentary resistance. Each model provides a framework through which to analyse figures of resistance in plays and evaluate the strategies of established playwrights in negotiating creative challenges. These models are developed through subsequent chapters focussed upon the subjects tackled in my plays. Chapter Three looks at climate change and plays responding to it in reflecting upon my creative process in The Ends. Chapter Four explores resistance to the Iraq War, my own military experience and the challenge of writing autobiographically. -
The Judas Kiss Directed by Michael Michetti
Contact: Niki Blumberg, Tim Choy 323-954-7510 [email protected], [email protected] Boston Court Pasadena presents David Hare’s The Judas Kiss Directed by Michael Michetti February 15 – March 24 Press Opening: February 23 2019 Theatre Season Sponsored by the S. Mark Taper Foundation PASADENA, CA (January 17, 2019) — Boston Court Pasadena commences the 2019 theatre season with a rare production of David Hare’s The Judas Kiss (February 15 – March 24), which tells the story of Oscar Wilde’s love for Lord Alfred “Bosie” Douglas – and tracking his downfall as he endures a brutal trial and life in exile. Helmed by Artistic Director Michael Michetti, the play examines a literary icon who continues to hold onto his passionate ideals of love and beauty as his life crumbles around him. Sir David Hare, the British playwright behind Plenty, Skylight, and Stuff Happens creates “an emotionally rich drama illuminated by Hare’s customary insight and humanity.” (The Globe and MaiI). The Judas Kiss features Rob Nagle (Oscar Wilde), Colin Bates (Lord Alfred “Bosie” Douglas), Darius De La Cruz (Robert Ross), Will Dixon (Sandy Moffatt), Matthew Campbell Dowling (Arthur Wellesley), Mara Klein (Phoebe Cane) and Kurt Kanazawa (Galileo Masconi). In spring of 1895, Oscar Wilde was larger than life. His masterpiece, The Importance of Being Earnest, was a hit in the West End and he was the toast of London. Yet by summer he was serving two years in prison for gross indecency. Punished for “the love that dare not speak its name,” Wilde remained devoted to his beloved, Lord Alfred “Bosie” Douglas. -
Front Matter
Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information the cambridge companion to david hare David Hare is one of the most important playwrights to have emerged in the UK in the last forty years. This volume examines his stage plays, television plays and cinematic films, and is the first book of its kind to offer such comprehen- sive and up-to-date critical treatment. Contributions from leading academics in the study of modern British theatre sit alongside those from practitioners who have worked closely with Hare throughout his career, including former Director of the National Theatre Sir Richard Eyre. Uniquely, the volume also includes a chapter on Hare’s work as journalist and public speaker; a personal mem- oir by Tony Bicat,ˆ co-founder with Hare of the enormously influential Portable Theatre; and an interview with Hare himself in which he offers a personal ret- rospective of his career as a film maker which is his fullest and clearest account of that work to date. A complete list of books in the series is at the back of this book. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information THE CAMBRIDGE COMPANION TO DAVID HARE EDITED BY RICHARD BOON University of Hull © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521615570 C Cambridge University Press 2007 This publication is in copyright. -
VIA DOLOROSA: FAITH and FIDELITY KAĞAN KAYA Cumhuriyet
VIA DOLOROSA: FAITH and FIDELITY KAĞAN KAYA Cumhuriyet University, Sivas Abstract: David Hare is one of the most fulgent figures of the global theatre who peculiarly places national and international political issues and their effects on the individual and society in his non-fiction drama. The political struggle between Palestinians and Israelis has been brought into debate through the imagination of several leading dramatists so far. Hare presents the purest ideas about this issue throughout his work, Via Dolorosa. However, his main concern is the corruption of faith and the meaninglessness of life, chiefly in the western world. In this respect, the playwright deals with the notion of faith in a universal point of view in this monologue play. Key words: David Hare, faith, Israel-Palestine, non-fiction drama, the West. 1. Introduction Since the 1990s, and particularly after the events of 9/11, it is highly popular among theatre-goers to see a play that covers national and international issues. It seems that the popularity of political plays will carry on in the first quarter of the twenty-first century. This paper presents a literary analysis of Via Dolorosa, which is one of the hottest political plays by David Hare. Billington (2009:387) delineates the play as “a brilliant piece of subjective reportage… so moving”. It is not only authentic with its technical style and rendition, but also with its vivid and gripping subject matter. In fact, David Hare, who is one of Britain’s most prolific political playwrights, has been using national and international fresh political material in his multi-coloured drama to meet the demands of theatre-goers for forty years. -
1968 | 2018 Protest, Performance and the Public Sphere
1968 | 2018 Protest, Performance and the Public Sphere an interdisciplinary symposium hosted by the Department of Theatre & Performance Studies University of Warwick 7-9 June 2018 in association with The Martin E. Segal Theatre Center, the Graduate Center, CUNY Cultures of the Left: Manifestations and Performances Warwick Performance and Politics Network Warwick Arts Centre Contents CONFERENCE PREMISE - 3 - ACKNOWLEDGEMENTS - 4 - KEYNOTE SPEAKERS - 5 - SPECIAL EVENTS - 8 - HOUSEKEEPING - 10 - EXPLORING THE AREA - 12 - PROGRAMME - 14 - - 2 - Conference Premise In 1968 a wave of popular protest swept across Europe, India and North and South America. It was accompanied by demonstrations, interventions and performances, and marked the irruption of political protest in the public sphere in a way that changed culture, thinking and policy. Recent events have seen a resurgence of the popular voice (as evidenced variously, for instance, in the outcomes of the Brexit referendum, the US and French presidential elections, events in Catalonia, and the Hindutva political narrative in India). They have been accompanied by a sense of crisis concerning civic and political process, and the galvanising of radical public protest of different kinds. In view of the fiftieth anniversary of les événements and the various socio-political actions of 1968, this symposium asks what we can learn from these events. It considers what resonance 1968 has for contemporary political movements, how ‘the public’ engages with political process in current scenarios, and the extent to which popular protest, performative intervention and the public sphere are intertwined today. It also examines how civic and political change come about. What difference does protest make, and how does it get performed in specific political contexts? The symposium programme includes a visit to Trying It On at Warwick Arts Centre, the world premiere of a solo show written and performed by David Edgar.