LEADER 03723nam 2200733 a 450 001 9910806281103321 005 20240314003334.0 010 $a3-11-030993-9 024 7 $a10.1515/9783110309935 035 $a(CKB)2550000001097197 035 $a(EBL)1230218 035 $a(OCoLC)851972522 035 $a(SSID)ssj0001035710 035 $a(PQKBManifestationID)11656925 035 $a(PQKBTitleCode)TC0001035710 035 $a(PQKBWorkID)11029968 035 $a(PQKB)10807362 035 $a(MiAaPQ)EBC1230218 035 $a(DE-B1597)207531 035 $a(OCoLC)853266080 035 $a(OCoLC)857080735 035 $a(DE-B1597)9783110309935 035 $a(Au-PeEL)EBL1230218 035 $a(CaPaEBR)ebr10728963 035 $a(CaONFJC)MIL503731 035 $a(EXLCZ)992550000001097197 100 $a20130719d2013 uy 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSublime drama $eBritish theatre of the 1990s /$fElz?bieta Baraniecka 205 $a1st ed. 210 $aBerlin $cDe Gruyter$d2013 215 $a1 online resource (280 p.) 225 1 $aCDE studies,$x2194-9069 ;$vv. 23 300 $aDescription based upon print version of record. 311 $a3-11-030115-6 311 $a1-299-72480-9 320 $aIncludes bibliographic references (p. [261]-270). 327 $tFront matter --$tAcknowledgements --$tContents --$t1. Introduction --$t2. Theory of the Sublime --$t3. Case Studies --$t4. Conclusion --$t5. Works Cited 330 $aBritish drama of the 1990's is most commonly associated with the term in-yer-face theatre, which was coined by Aleks Sierz to describe the shocking and provocative work of emerging playwrights such as Mark Ravenhill or Sarah Kane. Taking a cue from Sierz's own suggestion that what still remains to be researched more thoroughly in this field is the particular relationship between the stage and the audience, this monograph undertakes precisely that task. Rather than use the term offered by Sierz, however, the study proposes a different concept to account for the dynamics of communication within the particular theatre of the 1990's, namely the aesthetic category of the sublime. Coupled with elements of Reader Response Theory, the sublime proves to be a more fruitful term, as it provides more precise tools for the analysis of the audience's aesthetic response than does in-yer-face theatre. With the help of four representative plays by four key playwrights of that time, Closer by Patrick Marber, Normal by Anthony Neilson, Faust is Dead by Mark Ravenhill and 4.48 Psychosis by Sarah Kane, the book details the consecutive stages in the process of the plays' reception that the members of the audience go through while forming their aesthetic response to them. Looking through the prism of the sublime, the study not only offers a detailed analysis of each play but also suggests an entirely new approach to British drama of the 1990's. 410 0$aCDE studies ;$vBd. 23. 606 $aEnglish drama$y20th century$xHistory and criticism 606 $aTheater$zGreat Britain$xHistory$y20th century 606 $aSublime, The 610 $a20th-Century British Drama. 610 $aIn-yer-face. 610 $aSublime. 610 $aTheatre Studies. 615 0$aEnglish drama$xHistory and criticism. 615 0$aTheater$xHistory 615 0$aSublime, The. 676 $a822.91409 686 $aHN 1220$2rvk 700 $aBaraniecka$b Elzbieta$01636688 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910806281103321 996 $aSublime drama$93978076 997 $aUNINA