Contemporary British Drama, 1970–90: Essays from Modern by Hersh Zeifman, Cynthia Zimmerman

By Hersh Zeifman, Cynthia Zimmerman

This publication focuses completely at the intriguing and provocative performs produced in England within the final twenty years. the first target of the gathering is to have a good time the actually striking variety of British drama due to the fact 1970, through reading the paintings of fourteen vital and consultant playwrights. This emphasis on diversity applies not just to the dramatists selected for inclusion yet to the critics besides - particularly to the range of serious technique proven of their essays.

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7. 8. 9. 10. See Leonard B. Meyer, "Critical Analysis and Performance: The Theme of Mozart's A Major Piano Sonata," New Literary History 2 (1971), p. 461. If criticism is most importantly a descriptive task, then performance fails as criticism. A production of a play does not describe that play; it incarnates the play theatrically. In all but a few cases, too, the production of a play is evaluative in only the most general way: the fact that the play is produced at all suggests a favorable evaluation by its producers.

Under these rather special conditions, the actors delivered their lines in the specific scenes being rehearsed each night. s Indeed, the game has been employed in quite different contexts, with a cast of fifteen, for example, preparing an Aeschylean tragedy. It is a general sort of theatre game, designed to explore and intensify certain energies which are present in a wide variety of plays, as they are performed. And the logic underlying the game, as with all the best games, is transparent. The player6 who is speaking, while he is speaking, is both safe and in great danger.

I thought it might be something like that, something along those lines. (pp. 83-84) EMMA ROBERT The next two scenes move forward in time and show first Emma and Jerry in the flat (Scene Six), followed by Robert and Jerry in the Italian restaurant (Scene Seven). In the first of these two scenes we watch Emma avoid telling Jerry that Robert knows what has been going on: JERRY EMMA I got your letter. Good. 32 Cinematic Fidelity and the Fonns of Pinter's Betrayal JERRY EMMA Get mine? Of course. Miss me?

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