By Michael Patterson
Michael Patterson analyzes a bunch of 20th century British playwrights' respective recommendations for persuading audiences of the necessity for radical restructuring of society. He examines performs via Arnold Wesker, John Arden, Trevor Griffith, Howard Barker, Howard Brenton, Edward Bond, David Hare, John McGrath and Caryl Churchill. every one bankruptcy is dedicated to an exploration of the engagement of person playwrights with left-wing political theatre, together with a close research of 1 in their significant performs.
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Additional info for Strategies of Political Theatre: Post-War British Playwrights
It is, to use John Peter’s expression, ‘a perlocutionary act’, an assertion that is not open to debate. As such, it is dangerously irrational, fascistic even, because we are unable to question the image set before us: Both [Waiting for Godot] and the ‘perlocutionary act’ . . expect and depend on, complete and unreserved acceptance; they both ask for a suspension of what Popper calls ‘the critical powers of man’. Such a reaction is contrary to everything we have come to understand by the experience of art.
The West appeared violent, oppressive and deceitful, and while Soviet Russia hardly offered a model to aspire to, there were smaller nations that showed how well they could function on Marxist principles: Cuba, Chile (for an all too brief period), Czechoslovakia (for an even briefer period), and – the old enemy – North Vietnam, which, tiny as it was, was to inﬂict defeat on the colossal superpower of the United States. Given the sense of a changing world and the apparently very real possibility of restructuring society along socialist lines, it was predictable that these writers would turn to the most public and most immediate forum for expressing their concerns and aspirations, that of live theatre.
He is wanting to score points, and so, instead of acknowledging the effort and sacriﬁce made by Dave and Ada in attempting to make a living in the Fens, he sneers at their supposed cosy country idyll by referring to the Cotswolds, a prosperous and very much more congenial rural setting than where they are actually living. This is a trivial point, but it illustrates well why, in part, Wesker has suffered such critical opprobrium. There has been a tendency to assert, contrary to the evidence, that he has done something or failed to do something and then to castigate him for this.