This second collection of Timberlake Wertenbaker's plays contains her work from 1995 to 2001. Diameira is published here for the first time. The collection also includes The Break of Day, After Darwin, Credible Witness and The Ash Girl, and is introduced by the author.
The Theatre of Timberlake Wertenbaker offers the first comprehensive overview of Wertenbaker's playwriting career which spans more than thirty years of stage plays. It considers the contexts of their initial productions by a range of companies and institutions, including the Royal Court, the Arcola and the Women's Theatre Group. While examining all of Wertenbaker's original stage works, Sophie Bush's companion focuses most extensively on the frequently studied plays Our Country's Good and The Love of the Nightingale, but also draws attention to early unpublished works and more recent, critically neglected pieces, and the counterpoints these provide. The Companion will prove invaluable to students and scholars, combining as it does close textual analysis with detailed historical and contextual study of the processes of production and reception. The author makes comprehensive use of previously undiscussed materials from the Wertenbaker Archive, including draft texts, correspondence and theatrical ephemera, as well as original interviews with the playwright. A section of Performance and Critical Perspectives from other scholars and practitioners offer a range of alternative approaches to Wertenbaker's most frequently studied play, Our Country's Good. While providing a detailed analysis of individual plays, and their themes, theatricalities and socio-historical contexts, The Theatre of Timberlake Wertenbaker also examines the processes and shape of Wertenbaker's career as a whole, and considers what the struggles and triumphs that have accompanied her work reveal about the challenges of theatrical collaboration. In its scope and reference Sophie Bush's study extends to encompass a wealth of additional information about other individuals and institutions and succeeds in placing her work within a broad range of concerns and resonances.
When an invitation to The Ball arrives at the Ash girl's house, from Prince Amir, she can't bring herself to believe that she, like her sisters, can go. With her mother dead and her father away, she must learn to fight the monsters that have slithered and insinuated their way into her heart and mind. In this wondrous drama Timberlake Wertenbaker explores the beauty and terror inherent in growing up. The Ash Girl premiered at Birmingham Rep in 2001.
The Midsummer Mischief festival was produced at The Other Place at the Courtyard in summer 2014. The Ant and the Cicada: A mysterious investor has set his sights on a prime piece of Greek real estate.Owned by two sisters whose lives and beliefs are at odds, and with debts rising all the time, the property’s future is uncertain. In a Greek tragedy, everybody loses. Through the struggle between two very different sisters for control of their family home, Timberlake Wertenbaker’s new play explores why we are willing to let the home of art and democracy crumble as the rest of Europe looks on. Revolt. She said. Revolt again. You are expected to behave... Use the right words Act appropriately Don’t break the rules Just behave. This play is not well behaved. It examines the language, behaviour and forces that shape women in the 21st century and asks what’s stopping us from doing something truly radical to change them. I Can Hear You: Tommy is dead. It’s always tragic when they die young. People have posted loads of nice stuff on his Facebook page. His sister Ruth has returned for the funeral and wants to get it just right. Proper cutlery and a good spread. The send-off he deserved, and certainly better than they managed when mum died. The following Sunday Ruth’s plans to leave again are interrupted as the doorbell rings and in walks someone very unexpected. This naturalistic supernatural play examines what the possibilities are for the women in Tommy’s family, and questions if it’s as easy for everyone to reveal what it is they want. This is Not an Exit: One day Nora decides she can’t have it all: where would she put it? Desperate to fight but not knowing how or against what, she attempts to navigate the difficult terrain of womanhood; but certain others have different ideas... This new play is a funny and ferocious drama about the absurdity at the heart of modern womanhood, and what really stands in the way of fulfilment.
An accessible one-volume encyclopedia, this addition to the Literary Movements series is a comprehensive reference guide to the history and development of feminist literature, from early fairy tales to works by great women writers of today. Hundred
Translation & Transformations in the Theatre of Timberlake Wertenbaker
Author: Maya Roth,Sara Freeman
Pubpsher: Peter Lang
Category: Literary Criticism
This collection provides the first full-length investigation of the "oeuvre" of one of Britain's leading dramatists: Timberlake Wertenbaker. By considering the polyglot playwright's theatre from translations and adaptations to new plays as a dynamic continuum of -translations and transformations-, Maya Roth and Sara Freeman create an intriguing, focused frame for understanding Wertenbaker's work as distinctly cross-cultural, theatrically rich, and intertextual, providing a prescient case study of the translational turn emerging in international theatre today. The contributors investigate translation theory and practice through Wertenbaker's diverse linguistic and genre translations - from French, ancient Greek, and Italian to English, and from myth, history, classics, fairytale, and literature to the stage. Interrelated chapters by scholars and artists from varied countries, language traditions, and disciplines use performance studies, comparative literature, feminist theory, and cultural anthropology to position Wertenbaker's theatre as a critical nexus for analyzing - and imagining - cross-historical dialogues with contemporary audiences and our plural legacies. Thanks to its substantive engagement with the ethics, theories, and collaborative practices of theatrical translation and adaptation more broadly, and its equally rigorous examination of Wertenbaker's hybridic politics and poetics, this collection can serve as a useful resource for scholars and artists, both."
Millie, a director, discusses with her actors, Ian and Tom, how to interpret two famous historical figures from the nineteenth century. It's 1831. The naturalist Charles Darwin is invited to travel with Robert Fitzroy into uncharted waters off the coast of South America aboard 'The Beagle'. Their five year journey is fraught with philosophical and personal tensions. Fitzroy, a staunch Christian, has faith in the unquestionable authority of the Bible; Darwin begins to explore a more radical vision, his theory of natural selection. A meditation on history and human relationships, After Darwin links past and present through these five characters, and raises timeless questions about faith, friendship and how we interpret the past. After Darwin was first performed in July 1998, at Hampstead Theatre, London.
Using examples of refugee arts and theatrical activity since the 1990s, this book examines how the 'refugee crisis' has conditioned all arts and cultural activity with refugees in a world where globalization and migration go hand in hand.