LEADER 02897nam 2200565 450 001 9910790706503321 005 20230803022833.0 010 $a1-4438-5567-7 035 $a(CKB)2550000001182164 035 $a(EBL)1595360 035 $a(SSID)ssj0001171193 035 $a(PQKBManifestationID)11678335 035 $a(PQKBTitleCode)TC0001171193 035 $a(PQKBWorkID)11175503 035 $a(PQKB)11610251 035 $a(Au-PeEL)EBL1595360 035 $a(CaPaEBR)ebr10828268 035 $a(CaONFJC)MIL562190 035 $a(OCoLC)868489118 035 $a(OCoLC)868986971 035 $a(FINmELB)ELB149842 035 $a(MiAaPQ)EBC1595360 035 $a(EXLCZ)992550000001182164 100 $a20140129d2013 uy| 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aWithin and without empire $eScotland across the (Post)colonial borderline /$fedited by Carla Sassi and Theo van Heijnsbergen 210 1$aNewcastle upon Tyne :$cCambridge Scholars Publishing,$d2013. 215 $a1 online resource (286 p.) 300 $aDescription based upon print version of record. 311 $a1-4438-4922-7 311 $a1-306-30939-5 320 $aIncludes bibliographical references and index. 327 $aCONTENTS; ACKNOWLEDGEMENTS; INTRODUCTION; "INJURED BY TIMEAND DEFEATED BY VIOLENCE"; GAELIC PERSPECTIVES; NEGOTIATIONS OF BARBARITY,AUTHENTICITY AND PURITY IN EIGHTEENTHAND NINETEENTH CENTURY GAELICLITERATURE; GAELIC BOOKS AS CULTURAL ICONS; GAELIC POETRY AND THE BRITISH MILITARYENTERPRISE, 1756-1945; THE GAELIC VOICEAND (POST)COLONIAL DISCOURSE; WRITING SCOTLAND'S (POST)EMPIRE; KAILYARD MONEY; AN EDUCATIONAL EMPIRE OF PRINT; COLONIALISM AND EMPIRE AS NATURALORDER IN THE EARLY DOLLAR MAGAZINE; THE SCOTTISH JUTEWALLAHS; THE KILTED DRAGON; SCOTLAND'S OTHERS; "I, DAUGHTER" 327 $a"JOHN IS A GOOD INDIAN"SPEAKING AS TRIBAL (M)OTHER; "THE PLANTATION OWNER IS NEVERWEARING A KILT"; NOTES ON CONTRIBUTORS; REFERENCES; INDEX OF PERSONAL NAMES 330 $aThe concept of the border evoked by the title of the present volume provides a central interpretative key for our project at more than one level, as it is suggestive both of Scotland as a 'theoretical borderland' in relation to the Empire and postcoloniality, and of our attempt at bringing into dialogue scholars from different disciplinary backgrounds, including Scottish, Celtic and postcolonial studies. The 'Scotland' of the present volume's title is thus suggestive of a critical standpoint ... 607 $aScotland$xHistory 676 $a820.99411 701 $aSassi$b Carla$0460635 701 $aHeijnsbergen$b Theo van$01487650 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910790706503321 996 $aWithin and without empire$93707615 997 $aUNINA LEADER 04859nam 22006015 450 001 9910483803703321 005 20211029152615.0 010 $a3-030-39427-1 024 7 $a10.1007/978-3-030-39427-1 035 $a(CKB)4100000011223437 035 $a(MiAaPQ)EBC6190199 035 $a(DE-He213)978-3-030-39427-1 035 $a(EXLCZ)994100000011223437 100 $a20200429d2020 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAfter In-Yer-Face Theatre $eRemnants of a Theatrical Revolution /$fedited by William C. Boles 205 $a1st ed. 2020. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2020. 215 $a1 online resource (255 pages) 311 $a3-030-39426-3 327 $a1. Chapter One: Introduction: Reflections on In-Yer-Face from the Other Side of the Atlantic; William C. Boles -- 2. Chapter Two: ?In the Pursuit of New Writers?: The Royal Court Young Peoples? Theatre and the Development of First Time Playwrights in the 1990s; Nicholas Holden -- 3. Chapter Three: ?A Shop Window for Outrage?: Harold Pinter?s Ashes to Ashes, In-Yer-Face Theatre and the Royal Court?s 1996 West End Season; Graham Saunders -- 4. Chapter Four: ?The Last Rolo?: Love, Conflict and War in Anthony Neilson?s Penetrator; Rachael Newberry -- 5. Chapter Five: Mark Ravenhill?s Dialectical Emotions: ?In-Yer-Face? as Post-Brechtian Theater; Anja Hartl -- 6. Chapter Six: Undressing Sarah Kane: A Portuguese Perspective on In-Yer-Face; Cátia Faísco -- 7. Chapter Seven: Russian ?In-Yer-Face Theatre? as a Problem or a Process; Elena Dotsenko -- 8. Chapter Eight: Surfing the Wave of In-Yer-Face Theatre on Australian Shores; Sandra Gattenhof -- 9. Chapter Nine: The Hidden Dialogue between Sarah Kane and Edward Bond: The Dramaturgy of Accident Time and Ethical Subjectivities; Chien-Cheng Chen -- 10. Chapter Ten: From ?In-Yer-Face? to ?In-Yer-Head?: Staging the Mind in Martin Crimp, Sarah Kane and Anthony Neilson; Solange Ayache -- 11. Chapter Eleven: Philip Ridley: Still In-Yer-Face; Thomas A. Oldham -- 12. Chapter Twelve: Tales from the East End: Dialogic and Confessional Storytelling as Therapy (?) in the Plays of Philip Ridley; Cath Badham -- 13. Chapter Thirteen: Joe Penhall?s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad; William C. Boles -- 14. Chapter Fourteen: ?Experiential, not speculative?: Love In and After In-Yer-Face; Korbinian Stöckl -- 15. Chapter Fifteen: The Echo Chamber: Theater in a ?Post-Truth? World. 330 $aThis book revisits In-Yer-Face theatre, an explosive, energetic theatrical movement from the 1990s that introduced the world to playwrights Sarah Kane, Martin McDonagh, Mark Ravenhill, Jez Butterworth, and many others. Split into three sections the book re-examines the era, considers the movement?s influence on international theatre, and considers its lasting effects on contemporary British theatre. The first section offers new readings on works from that time period (Antony Neilson and Mark Ravenhill) as well as challenges myths created by the Royal Court Theatre about the its involvement with In-Yer-Face theatre. The second section discusses the influence of In-Yer-Face on Portuguese, Russian and Australian theater, while the final section discusses the legacy of In-Yer-Face writers as well as their influences on more recent playwrights, including chapters on Philip Ridley, Sarah Kane, Joe Penhall, Martin Crimp, Dennis Kelly, and Verbatim Drama. 606 $aTheater 606 $aTheater?History 606 $aPerforming arts 606 $aContemporary Theatre$3https://scigraph.springernature.com/ontologies/product-market-codes/415040 606 $aTheatre History$3https://scigraph.springernature.com/ontologies/product-market-codes/415010 606 $aNational/Regional Theatre and Performance$3https://scigraph.springernature.com/ontologies/product-market-codes/415080 606 $aPerforming Arts$3https://scigraph.springernature.com/ontologies/product-market-codes/415030 606 $aTeatre$2thub 608 $aLlibres electrònics$2thub 615 0$aTheater. 615 0$aTheater?History. 615 0$aPerforming arts. 615 14$aContemporary Theatre. 615 24$aTheatre History. 615 24$aNational/Regional Theatre and Performance. 615 24$aPerforming Arts. 615 7$aTeatre 676 $a792.09 676 $a792.09 702 $aBoles$b William C$4edt$4http://id.loc.gov/vocabulary/relators/edt 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910483803703321 996 $aAfter In-Yer-Face Theatre$91998383 997 $aUNINA