Elizabethan and Jacobean Reappropriation in Contemporary British Drama

'Upstart Crows'

Nonfiction, Entertainment, Performing Arts, Theatre, History & Criticism
Cover of the book Elizabethan and Jacobean Reappropriation in Contemporary British Drama by Graham Saunders, Palgrave Macmillan UK
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Author: Graham Saunders ISBN: 9781137444530
Publisher: Palgrave Macmillan UK Publication: October 14, 2017
Imprint: Palgrave Macmillan Language: English
Author: Graham Saunders
ISBN: 9781137444530
Publisher: Palgrave Macmillan UK
Publication: October 14, 2017
Imprint: Palgrave Macmillan
Language: English

This book examines British playwrights' responses to the work of Shakespeare and his contemporaries since 1945, from Tom Stoppard's Rosencrantz and Guildenstern are Dead to Sarah Kane’s Blasted and Jez Butterworth’s Jerusalem. Using the work of Julie Sanders and others working in the fields of Adaptation Studies and intertextual criticism, it argues that this relatively neglected area of drama, widely considered to be adaptation, should instead be considered as appropriation - as work that often mounts challenges to the ideologies and orthodoxies within Elizabethan and Jacobean drama, and questions the legitimacy and cultural authority of Shakespeare’s legacy. The book discusses the work of Howard Barker,  Peter Barnes, Edward Bond, Howard Brenton, David Edgar, Elaine Feinstein and the Women’s Theatre Group, David Greig, Sarah Kane, Dennis Kelly, Bernard Kopps, Charles Marowitz, Julia Pascal and Arnold Wesker.

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This book examines British playwrights' responses to the work of Shakespeare and his contemporaries since 1945, from Tom Stoppard's Rosencrantz and Guildenstern are Dead to Sarah Kane’s Blasted and Jez Butterworth’s Jerusalem. Using the work of Julie Sanders and others working in the fields of Adaptation Studies and intertextual criticism, it argues that this relatively neglected area of drama, widely considered to be adaptation, should instead be considered as appropriation - as work that often mounts challenges to the ideologies and orthodoxies within Elizabethan and Jacobean drama, and questions the legitimacy and cultural authority of Shakespeare’s legacy. The book discusses the work of Howard Barker,  Peter Barnes, Edward Bond, Howard Brenton, David Edgar, Elaine Feinstein and the Women’s Theatre Group, David Greig, Sarah Kane, Dennis Kelly, Bernard Kopps, Charles Marowitz, Julia Pascal and Arnold Wesker.

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