Contemporary British Theatre, 1st Edition by Theodore Shank (eds.)

By Theodore Shank (eds.)

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That rape is revealed through Wertenbaker's own love - of theatre - as theatricalised by the plays within her plays. And Athenian love of drama is exploited by Wertenbaker, who confers the city's taste upon the young Philomele. She understands aesthetic distance, but the adulterous passion of the Thracian Tereus is ignited by the staged performance of the adulterous passion of Phaedra for Hippolytus, a play within the play. ' Theatre can be dangerously suggestive, but also revelatory. Wertenbaker changes mute Philomele's tapestry of the original myth to a puppet play at a Baechle revel: 'The rape is re-enacted in Digging the Greeks: New Versions of Old Classics 43 a gross and comic way ...

It had been shaped by class, region or community. Mrs. Thatcher tried to profile this amorphous entity as the profit-making individual. She failed, but her opportunistic populism has ensured that 'the people', if only like the Ghost in Hamlet, has to be listened to and remembered. The secrecy of the Thatcher Government created mounting demands in the 1980s for a written constitution. The centralising obsession of the Thatcher Government exacerbated demands for separate assemblies by the Celtic regions of the Kingdom.

His host, Joe Shawcross, is a successful TV producer of Northern working-class origin. Tagg despises the media, but the structure of Griffiths' play, whereby Tagg, rigid and upright in his chair, is, as it were, 'soft-focused' by the stumbling, drunken playwright Sloman, the smoothie London School of Economics lecturer Ford and the gentle liberal Shawcross, demonstrates how wavering the lines of demarcation have become in the new electronic environment. The 1980s, these playwrights sensed, would be the era of the middle-man.

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