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Modern British Playwriting: The 1980's: Voices, Documents, New Interpretations (Decades of Modern British Playwriting),Used
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About the Author Dr Jane Milling is Senior Lecturer in the department of Drama at the University of Exeter, UK. She has taught at the University of Sheffield and joined the Drama Department at Exeter in 1995. Research interests include popular and political performance in 17th, 18th and 20th century theatre history. Milling is particularly interested in questions of participation, community, and creativity in contemporary performance and culture, and is coauthor of Devising Performance: A Critical History (2005). Her Modern British Playwriting: The 1980s will publish late 2012.Philip Robertsis Emeritus Professor in the School of English of the University of Leeds, UK, where until 2004 he was Professor of Drama and Theatre Studies and Director of the Workshop Theatre. Product Description Modern British Playwriting: The 1980s equips readers with a fresh assessment of the theatre and principle playwrights and plays from a decade when political and economic forces were changing society dramatically. It offers a broad survey of the context and of the playwrights and companies such as Complicit and DV8 that rose to prominence at this time. Alongside this it provides a detailed examination based on fresh research of four of the most significant playwrights of the era and considers the influence they had on later work.The 1980s volume features a detailed study by four scholars of the work of four of the major playwrights who came to prominence: Howard Barker (by Sarah Goldingay), Jim Cartwright (David Lane), Sarah Daniels (Jane Milling) and Timberlake Wertenbaker (Sara Freeman). Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work from that decade, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twentyfirst century. This is an authoritative and stimulating reassessment of British playwriting in the 1980s.
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