Strategies of Political Theatre: Post-War British Playwrights Michael Patterson Index More Information

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Cambridge University Press 0521258553 - Strategies of Political Theatre: Post-War British Playwrights Michael Patterson Index More information

Index

7:84 Theatre Company xiv, 59, 69, model of interventionist strategy 109, 112, 115–19, 127, 128 24, 44–61 modest claims for effectiveness 5 agit-prop 14–15, 96, 103, 113–24 name linked with Arnold Wesker Albee,Edward 44–5 Who’s Afraid of Virginia Non-StopConnolly Show, The xv, Woolf?xi 45, 57 Aldwych Theatre,London xi realist not naturalist 17 Alfreds,Mike 161 Serjeant Musgrave’s Dance xi, 5, Alvarez,A. 51 27, 40, 44, 45, 46–61 Anderson,Lindsay xi, 51 similarity with Howard Barker 85 Arden,John theatrical style 44–5 Armstrong’s Last Goodnight xii Workhouse Donkey, The xii, 53 Ars Longa, Vita Brevis 45 work performed by 7:84 112 Ballygombeen Bequest, The xiv, 45, Aristotle xviii, 1, 15, 19, 157 113 Arts Council xvii, 119 ‘Brecht and the British’ 61 Arts Theatre,London x collaboration with Margaretta Ashdown,Paddy 177 D’Arcy 45 Austen,Jane 156 compared with Trevor Griffiths 74 Ayckbourn,Alan dispute with Royal Shakespeare Relatively Speaking xiii Company 44 Happy Haven, The xi Barbican Theatre,London xvii Hero Rises Up, The xiii Barker,Howard influence of Brecht 44–5 Alpha Alpha xiv Island of the Mighty, The xiv, 44 Arguments for a Theatre 83 late experience of theatre practice Bite of the Night, The xviii 97 career and theatrical style 83 liberal pacifism of 4 Claw xvi, 85 little interest in psychology 99 directs own work 128 Live Like Pigs xi, 27, 52 Hang of the Gaol, The xvi Marxist conviction 4, 55, 60 No End of Blame xvii

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Index

Barker,Howard ( cont.) Early Morning xiii, 153 not accessible to wider public 21 embraces post-modernism 177 Stripwell xvi, 83–4, 86, 87–93, 176 Fool, The xvi ‘triumph of defeat’ 177 Lear xiv, 96, 140–53 (Uncle) Vanya 85 misrepresented by Ronald Hayman Barnes,Peter 5 48 Ruling Class, The xiii Narrow Road to the DeepNorth Beatles,The xi, 11 xiii, 153 Beatty,Warren 67 not accessible to wider public 21 Beckett,Samuel 7, 22, 23, 41, 89, 152 not university graduate 4 Catastrophe xvii Passion 147 Endgame x Pope’s Wedding, The xi Waiting for Godot x, 22, 158 Saved xii, 40, 84, 145–6, 153 Behan,Brendan Sea, The xv Quare Fellow, The x War Plays xviii Behn,Aphra 155 Woman, The xvi Belgrade Theatre,Coventry 41 Worlds, The xvii Belt and Braces Theatre Company 14, Boon,Richard 96, 100, 103 112, 127 Bottomley,Gordon Berger,John 17, 21 King Lear’s Wife 141 Berkoff,Steven Bradford University Drama East 167 Group 97 West 167 Braveheart 123 Berliner Ensemble x, 44 Brecht,Bertolt Berlin Wall xi,xviii Baal 59 Bicat,Tony xiii Caucasian Chalk Circle, The x, Bicker,Doreen (‘Dusty’) 35 125 Bigsby,Christopher 42 championing of Freundlichkeit 61 Bill, The 68 collective not individual concerns Billington,Michael 17 162 Blond,Neville x criticized by John Peter 22–3 Boal,Augusto 178 critique of naturalism 16 Bogdanov,Michael 94 critique of socialist realism 14 Bolt,Robert 5 death of x State of Revolution xvi debate with Lukacs´ 19–21 Bond,Edward demonstrational acting 116, 173 The Activists Papers 139 dialectic theatre 137, 161 ‘aggro-effects’ 95 distanciation (Verfremdung) 18, and CND 147 100, 147 Bingo xv function of scenery 46 Bundle, The xvi function of songs 50 career and theatrical style function of theatre 173 138–41 Galileo 47, 100, 151

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Gestus 53, 101 England’s Ireland xiv Good Person of Szechwan, The 23, Fart for Europe, A xv, 14 49 Gum and Goo 97 influence denied by Howard Greenland xviii Brenton 100 Hitler Dances xiv influence on Edward Bond Lay-By xiv, 66, 95 143–5 Magnificence xv, 100 influence on David Hare 127, 132, power of theatre 86 137 Pravda xviii, 99, 126 influence on John Arden 44–5, 48, Romans in Britain, The xvii, 94–5 49 Scott of the Antarctic xiv influence on John McGrath 118 Weapons of Happiness xvi, 99, 100, insists on historical context 151 149 Lehrstucke¨ 144 witnessed student unrest in Paris Man Equals Man 164 13 model of political playwriting 1 Brighton Combination,The 97 modernist and interventionist 18 British Broadcasting Corporation Mother Courage x, 44, 47, 49, 144, (BBC) 110, 111, 159 147, 151 Bronte,Charlotte¨ 156 opposition between dramatic and Brook,Peter x,xi,xii,xiv, 29 epic 15 Buchner,Georg¨ 52 portrayal of violence 146–7 Bull,John 6, 71, 74, 94, 126, 131 prejudice against 29 Bulman,James C. 150 proposals for clowns in tragedy 58 Bunyan,John 52 questionable influence on Caryl Burgess,John 50 Churchill 165 Bush,George xviii rejection of anarchy 58–9 Bygraves,Max 78 Roundheads and Peakheads 140 Byrne,John 121 social emphases of his theatre 3–4 Calder,Angus 102 Threepenny Opera, The 147 Callaghan,James xvi use of history 47–8 Campaign for Nuclear Disarmament vague sense of real world in plays (CND) x,xvii, 28, 147 40 capitalism 12, 13, 14, 57, 58, 65, 66, Brenton,Howard 74, 109, 116, 125 and agit-prop 14 opposed to socialism 14, 31, 65 Brassneck xv Carter,Jimmy xvi Cambridge graduate 125 Cartoon Archetypal Slogan Theatre career and theatrical style 94–8 (CAST) xii, 14 Christie in Love xiii, 77, 95, 98 Casualty 68 Churchill Play, The xv, 96–105 censorship xiii, 13 Deeds 66 Centre 42 xi, 28, 31–2 discussed by John Bull 6 Chambers,Colin 117, 118

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Index

Chekhov,Anton 42, 104 Covington,Julie 99 Seagull, The 16 Coward,Noel 27 Uncle Vanya 85 Craig,Sandy 85 Chile xiv,xv, 13 Croce,Benedetto 16–17 Christie,Reginald xiii, 77, 95, 96 Cuba xi, 13, 176 Churchill,Caryl Czechoslovakia xiii,xvi,xviii, career and theatrical style 157–74 12, 13 Cloud Nine xvii, 161–74, 176 collaboration with actors 128–9 Daniels,Sarah Fen xvii, 160, 162 Masterpieces xvii Icecream xviii D’Arcy,Margaretta 45 Legion Hall Bombing, The 159 Ars Longa, Vita Brevis 45 Light Shining in Buckinghamshire Ballygombeen Bequest, The xiv, 45, xvi, 161, 163, 165, 173, 174 113 Objections to Sex and Violence xvi Island of the Mighty, The xiv only woman playwright discussed Non-StopConnolly Show, The xv, 7 45, 57 Owners 162 Delaney,Shelagh politicization of 4 Taste of Honey, A xi Serious Money xviii, 162, 167 Devine,George x,xii Softcops xviii Dexter,John xi, 41–2, 69, 70 TopGirls xvii, 159, 160, 167 Dixon of Dock Green 68, 110 Traps 160–1, 173 Douglas-Home,Alec xii Vinegar Tom xvi, 159, 160, Duchamp,Marcel 15 162, 165 Duncan,Ronald x vision of ideal society 3–4 Durrenmatt,Friedrich¨ 160 Churchill,Winston x,xv, 96–9, 101–2, 104 Eagleton,Terry 17 cinema,see ﬁlm EastEnders 43, 123 Citizens’ Theatre,Glasgow xii Eden,Anthony x Clare,John 52 Edgar,David Clause 28 xviii considers popular culture Cohn,Ruby 158 reactionary 113 Common Market,European (EEC) x, critique of socialist theatre xv, 14 workers 23 Communism xviii, 1, 4, 13, 42, 43, Destiny xvi 65, 67, 95, 175 Dick Deterred xv, 14 Communist Party 69, 130, 131, 132, discussed by John Bull 7 133–4, 135, 136 England’s Ireland xiv Conservative Party x,xi,xii,xiii,xv, Entertaining Strangers xviii xvii, xviii, 12, 13, 102, 103, 104, Fart for Europe, A xv, 14 175, 176 Jail Diary of Albie Sachs, The Coronation Street 178 xvii

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Index

Maydays xvii Griffiths,Trevor National Interest, The xiv Bill Brand 67, 68, 71 Nicholas Nickleby xvii career and theatrical style 65–75 on television 2, 68 Comedians xvi, 65, 71, 75–82, 176 political playwright 5 Deeds 66 Tedderella xiv discussed by John Bull 6 use of projections 74 Gulf Between Us, The 74 Wreckers xvi inheritor of Wesker’s realist style Edinburgh Festival 113 43 Eliot,George (Mary Anne Evans) Lay-By xiv, 66, 95 156 Marxist conviction 4 Eliot,Thomas Stearns 167 Occupations xiv, 66, 69–70, 72, Emergency Ward 10 68 73–4, 76 English Stage Company,London x Oi! for England 66, 72, 74 Escher,Maurits 160 Party, The xv, 66, 67, 69, 70–1, 72, Everyman Theatre,Liverpool 111 73, 74, 76 Expressionism 20 realist writer 17 Eyre,Richard 75 Reds 67 Sam, Sam 71, 74 Falklands,The xvii, 28 Thermidor 66 feminism xiv,xv, 154–5, 157–9, 162, Through the Night 67, 68 176 work performed by 7:84 112 film 2, 3, 67, 111, 126 Grock 80 Finlay,Frank 70 Fleisser,Marieluise 156 Hall,Peter xi,xiii,xv Ford,Gerald xv Hamilton,Robert 129 Hampstead Theatre Club,London Gaskill,William xi, 129, 131, 144–5, 110 151, 152 Hanna,Gillian 157, 173 Gay Liberation Front xiv Hare,David Gay Sweatshop Theatre Company admits playwright’s experience xvi limited 66 General Will xiv career and theatrical style 125–9 Gibson,Mel 123 Deeds 66 Glaspell,Susan 156 denies exerting major influence 4, Goodbody,Buzz 69 175 Gorbachev,Mikhail xviii discussed by John Bull 6 Gorky,Maxim England’s Ireland xiv Lower Depths, The 110 Fanshen xvi, 125, 161 Gramsci,Antonio 69, 73, 113 founds Portable Theatre xiii Gray,Frances 50, 158, 171 Great Exhibition, The 125, 137 Gregory,Lady Isabella Augusta Knuckle xv, 125 156 Lay-By xiv, 66, 95

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Index

Hare,David ( cont.) Ionesco,Eug ene` Licking Hitler 126 Bald Prima Donna, The x Mapof the World, A xvii, 71, 126 Iran xvii,xviii Plenty xvii, 126–7 Iraq xvii,xviii Pravda xviii, 99, 126 Itzin,Catherine 6, 92 produces Griffiths’s The Party 69 revolution linked to affluence 177 Jameson,Fredric 20 Saigon: Year of the Cat 126 Jewel,Jimmy 75 Secret Rapture xviii Johnson,Lyndon B. xii, 5 Slag xiv, 125 Joint Stock Theatre Company xv, Teeth ’n’ Smiles xvi, 125 129–30, 131, 136, 163 writes about middle classes 114 Hauptmann,Gerhart 34 Karno,Fred 58 Before Sunrise 39 Keeffe,Barrie 5 Havel,Vaclav xviii Kennedy,John F. xi,xii Hayman,Ronald 34, 36, 42, 48 Keyssar,Helene 155 Heath,Edward xiii,xv, 102 King,Martin Luther xiii Hellman,Lillian 156 Kingsley,Ben 69 Henrichs,Benjamin 152 Koppelman,Susan 157 Herrmann,Anne 166 Kritzer,Amelia Howe 160 Hinton,William 130, 131, 132, 136 Kruger,Loren 165, 170 hippies 11–12, 95, 150 Kyle,Barry 104 Hitler,Adolf xiv, 96 Hobson,Harold 28, 51 Labour Party xii,xv,xvi, 12, 13, 67, Homolka,Oskar 111 91, 104, 112, 175, 176 Hope,Francis 38 Lacey,Stephen 178 Hordern,Michael 87 Leigh,Mike 129 Howard,Roger 175 Lessing,Gotthold Ephraim 5, 85 Hrotsvita of Gandersheim 155 Littlewood,Joan x Hungary x, 43 Oh, What a Lovely War xii Hunt,Albert 48 Loach,Ken Cathy Come Home 177 Ibsen,Henrik 22, 45, 99, 100 Fatherland 67, 72 immigration xiii, 77, 176 Lord Chamberlain xiii, 13 interventionist strategy Lukacs,Georg´ 16, 19–21, 40, 70, 72 contrasted with reflectionist Lyceum Theatre,Edinburgh 112 strategy 17 defined 15 Mackendrick,John 7 in Caryl Churchill 157–74 MacLennan,Elizabeth 109, 112, 117 in David Hare 127, 129–37 Moon Belongs to Everyone, in Edward Bond 138–53 The 116 in John Arden 44–61 Macmillan,Harold x,xii, 11 in John McGrath 113–24 Manning,Bernard 78

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Index

Mao Tse-tung xii, 12, 134 Cousin Vladimir xvii Marcus,Frank Ride a Cock Horse xii Killing of Sister George, The xii Mermaid Theatre,London xi Marowitz,Charles xiii modernism 18–23, 157 Marx,Groucho 75 Moliere` (Jean-Baptiste Poquelin) 5 Marx,Karl 72, 75, 85 Monstrous Regiment Theatre Group Marxism 1, 4, 12, 13, 16, 20, 55, 60, 157, 159, 173 71, 89, 92, 93, 96, 139, 149, 176 McColl,Ewan 31 Nairn,Tom 73 McGrath,John National Front,The 66, 72 and 7:84 Theatre Company 69, 128 National Health Service xiii, 67, and agit-prop 15 178 Bakke’s Night of Fame xiii National Theatre,London xii,xv, Billion Dollar Brain 111 xvi, 69, 70–1, 112, 129 Bone Won’t Break, The 113 naturalism 15–17, 21, 29, 45, 73, 74, career and theatrical style 109–19 110, 112–13 Cheviot, the Stag and the Black, Nichols,Peter 5 Black Oil, The xv, 109, 117, 176 Day in the Death of Joe Egg, A xiii comments on Grifﬁths’s The Party National Health, The xiii 71 Nietzsche,Friedrich 53 concern over democracy in Nixon,Richard xiii,xv, 13, 14 theatrical process 128 Northern Ireland xiii,xiv,xv, 12, 13, condemns Centre 42 31 28, 102–3, 159, 169 Events while Guarding the Bofors Nottingham Playhouse 75 Gun xii, 110–11 Nunn,Trevor xiii Good Night Out, A xvii, 113, 118 Imperial Policeman, The xviii O’Brien,Edna 36 Little Red Hen xvi Old Vic Theatre,London xii Marxist conviction 4 Olivier,Laurence xv, 70–1, 73 praises Arden’s dialogue 52 O’Malley,John F. 160 Random Happenings in the Open Space Theatre,London xiii Hebrides xiv, 112–13 Orton,Joe xiii Serjeant Musgrave Dances On 59, Orwell,George 97, 130 60, 113 Osborne,John 27, 28–9, 126 ‘theory and practice of political Entertainer, The x theatre,The’ 113 Inadmissible Evidence xii Trees in the Wind 113 Look Back in Anger x, 29, 39, 40 Trembling Giant, The 116 Luther xi Virgin Soldiers 111 Patriot for Me, A xii Memorial Theatre, Stratford-upon-Avon xi paciﬁsm 4 Mercer,David xvii, 5 Palitzsch,Peter 47 After Haggerty xiv People Show,The xii

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Index

Peter,John 22–3, 152, 165, 172 in Howard Brenton’s The Churchill Pickup,Ronald 70 Play 99–100 Pinter,Harold 5, 7, 41, 160 in John McGrath 112–13 Betrayal xvi in Trevor Griffiths 65–82 Birthday Party, The xi strengths of 16–17 Caretaker, The xi realism,socialist 13–14 Homecoming, The xii,xiii Red Ladder Theatre Company xiii, 5, Mountain Language xviii 14, 127 No Man’s Land xv Strike While the Iron Is Hot Old Times xiv 155 One for the Road xviii reflectionist strategy Slight Ache, A 89 contrasted with interventionist Piscator,Erwin 1, 31, 74 strategy 19 Political Theatre, The 31 defined 15–17 Place,The,London 69 in Arnold Wesker 27–43 Planchon,Roger 31 in Howard Barker 83, 87–93 Plater,Alan 5 in Howard Brenton 94–105 Close the Coalhouse Door xiii in Trevor Griffiths 65–82 Plays and Players 44, 126 risk run by 137 Plowright,Joan 44 Richards,Gavin 112 Poliakoff,Stephen 5 Richardson,Tony x Breaking the Silence xviii Richter,Jean-Paul 86 City Sugar xv Riverside Studios,Hammersmith, Pomerance,Jill 40 London xv Popper,Karl 22 Rolling Stones,The 11 Portable Theatre xiii,xiv, 66, 84, Round House,London 31 97 Royal Court Theatre,London x,xi, Potter,Dennis 69 31, 45, 51, 84, 87, 93, 109, 111, Pryce,Jonathan 75 112, 129 Royal Shakespeare Company Quant,Mary 11 (RSC) xi,xiii,xvii, 44, 69, 103, 115 Rattigan,Terence 27, 126 Rudkin,David 5 Rea,Stephen 75 Saxon Shore, The xviii Reagan,Ronald xvii Russell,Ken 111 realism Rylance,Rick 123 contrasted with modernism 19 contrasted with naturalism 16–17, St John,Christopher 156 73 Sandford,Jeremy empathetic playing of 3 Cathy Come Home 177 in Arnold Wesker 27–43 Scharine,Richard 142 in Howard Barker’s Stripwell 88–9 Schechner,Richard 115

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Index

Schiller,Friedrich 1 Spurling,John Scoﬁeld,Paul x Macrune’s Guevara xiii Scott (of the Antarctic),Robert Stafford-Clark,Max 129, 163, Falcon 96 172 Seyd,Richard 5 Stalin 96, 148 Shakespeare,William 72, 139–41, Stalinism 69, 85, 93, 148–9 151, 157 Stanislavsky,Konstantin 16, 49, 144, Hamlet x, 49, 141 173 King Lear xii, 140, 142–4, 145, 146, Stein,Gertrude 156 149, 150, 151, 152 Stein,Peter 118 Macbeth 140 Stewart,Ewan 50 Measure for Measure 140 Stoppard,Tom 5, 71 Midsummer Night’s Dream, A xiv Rosencrantz and Guildenstern Are Richard III 14 Dead 141 Romeo and Juliet 14 Storey,David Shared Experience Theatre Company Home xiv 161 Stratmann,Gerd 141 Sharratt,Bernard 123 Stravinsky,Igor 31 Shaw,George Bernard 29, 39, 73, 110, Streep,Meryl 126 138, 139 student unrest Shellard,Dominic 6 in Britain 12 Sher,Antony 163–4 in Paris (ev´ enements´ ) xiii, 12, 13, situationism 96 70, 96, 118 Six-Day War xiii in USA xiii, 13 socialism Suez crisis x and feminism 155, 158–9 espoused by audiences 86 Tate,Nahum espoused by playwrights 1, 20, 27, King Lear 141 43, 57, 71, 83, 86, 88, 95, 112, Taylor,John Russell 34 154, 158–9 television 2, 43, 67–8, 86, 110, 111, espoused by theatre practitioners 5, 117, 159, 160, 177 14, 23 Terson,Peter 5 failure of 33, 177 Thatcher,Margaret xv,xvii,xviii, 4, opposed to capitalism 14, 31, 6, 65, 83, 155, 175, 177 65 Theatre in Education xii programme of social change 4, 12, Theatre Workshop,Stratford East, 13, 58, 66, 69, 70, 72, 82, 87, 93, London x,xi 144, 148–9 Trade unions xv,xvii, 13, 28, 30–1, socialist realism,see realism, 67, 102, 103 socialist Trotskyism 66 Socialists, Young 92 Trussler,Simon 5 South Africa xvi, 28 Tynan,Kenneth 42

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Index

United States of America (USA) xi, I’m Talking About Jerusalem xi, 30, xii,xiii,xiv,xv,xvi,xvii, 12, 13, 32, 33, 34, 43 126, 147, 155 Journalists, The xvi, 29, 32–3, 40, Union of Soviet Socialist Republics 44 (USSR) x,xiii,xvi,xviii, 4, 12, Kitchen, The xi, 30, 32, 40 13, 14, 43, 65, 67, 73–4, 147, late experience of theatre practice 148–9, 175 97 Merchant, The xvi, 29 Verfremdung,see Brecht,Bertolt: Mothers 29 distanciation name linked to John Arden 44 Victoria,Queen 119 not influenced by Brecht 44 Vietnam,North 13 not university graduate 4 Vietnam War xii,xiii,xiv,xv, 5, 12, Old Ones, The xv, 34 13, 126 political standpoint 32–5 realist writer,a 17 Wager,Walter 44 Roots xi, 27–43, 44, 45, 46, 47, 50, Wandor,Michelene 172 52, 53, 54–5, 176 Wardle,Irving 7 Their Very Own and Golden City Wedekind,Frank xii, 34, 41 Spring Awakening 179 Trilogy, The xi, 27–43 Weill,Kurt 118 Wedding Feast, The xv, 29 Weiss,Peter ‘Words as definitions of Marat/Sade xii, 29, 146 experience’ 38 Welfare State Theatre Company xiii, Wesley,John 96 127 Whitehouse,Mary 94 Wellingborough Festival 31–2 Wilkinson,Tom 75 Wertenbaker,Timberlake Williams,Raymond xii, 113 Our Country’s Good xviii Wilson,Harold xii,xv,xvi, 31, 91 Wesker,Arnold Wilson,Richard 69 and Centre 42 31–2, 113 Winstanley,Gerrard 52 as model of reflectionist strategy Wolfit,Donald 140 24, 27–43 women’s liberation,see feminism career and theatrical style 27–32 Women’s Theatre Group xv Chicken Soupwith Barley xi, 27, Wood,Charles 5 30, 32, 33, 34–5, 42 Woolf,Virginia 157, 159–60 Chips with Everything 32, 110 Worsley,T. C. 42 compared with John Arden 55 Worth,Katharine 143 dispute with Royal Shakespeare Wrestling School,The 83 Company 44 Four Seasons, The 29 Z Cars 110 Friends, The xiv, 28, 29, 34 Zapf,Hubert 146

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