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This book revisits In-Yer-Face theatre, an explosive, energetic theatrical movement from the 1990s that introduced the world to playwrights Sarah Kane, Martin McDonagh, Mark Ravenhill, Jez Butterworth, and many others. Split into three sections the book re-examines the era, considers the movement’s influence on international theatre, and considers its lasting effects on contemporary British theatre. The first section offers new readings on works from that time period (Antony Neilson and Mark Ravenhill) as well as challenges myths created by the Royal Court Theatre about the its involvement with In-Yer-Face theatre. The second section discusses the influence of In-Yer-Face on Portuguese, Russian and Australian theater, while the final section discusses the legacy of In-Yer-Face writers as well as their influences on more recent playwrights, including chapters on Philip Ridley, Sarah Kane, Joe Penhall, Martin Crimp, Dennis Kelly, and Verbatim Drama.

Theater --- Performing arts --- Show business --- Arts --- Performance art --- History. --- Management. --- Theater. --- Theater—History. --- Performing arts. --- Contemporary Theatre. --- Theatre History. --- National/Regional Theatre and Performance. --- Performing Arts. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors --- Teatre --- Art del teatre --- Art escènic --- Art teatral --- Dramatúrgia --- Escena --- Representació teatral --- Arts de l'espectacle --- Agents teatrals --- Crítica teatral --- Directors teatrals --- Mascarades (Teatre) --- Música d'escena --- Producció i direcció teatral --- Teatre al carrer --- Teatre d'afeccionats --- Teatre de titelles --- Teatre escolar --- Teatre experimental --- Teatre infantil i juvenil --- Teatre musical --- Teatre negre --- Teatre polític --- Vodevil --- Art dramàtic --- Consuetes (Teatre) --- Efectes especials --- Teatre (Gènere literari) --- Teatres

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"This is the first book to examine how the concept and disagreements around "post-truth" have been explored in the world of theater and performance. This ranges from the plays of Caryl Churchill, Anne Washburn, and David Henry Hwang, to the inherent theatricality of press conferences, interviews and protests that embrace the confusion created by "post-truth" to muddy issues and deflect blame, to theatrical performance, where the nature of truth is challenged through staged visuals which run counter to what the audience hears, provoking a debate about where the truth actually lies. With contributions by scholars from around the world, Theater in a Post-Truth World considers a wide array of examples from American and British drama and politics, Australian theater, and the work of performance artist Marina Abramovic. Together these provide a glimpse into how the theater in its many forms provides a venue to raise critical awareness and encourage critical thinking about the ubiquity of "post-truth.""--

American drama --- American drama. --- English drama --- English drama. --- Mensonge dans la littérature. --- Mensonge. --- Theater and society. --- Theater and society. --- Theater --- Theater --- Theater --- Theater --- Theater. --- Théâtre américain --- Théâtre et société. --- Théâtre --- Théâtre --- Truthfulness and falsehood in literature. --- Truthfulness and falsehood in literature. --- Truthfulness and falsehood. --- Truthfulness and falsehood. --- History and criticism --- History and criticism --- History --- History --- Moral and ethical aspects. --- Moral and ethical aspects. --- Histoire et critique --- Aspect moral. --- Histoire --- 2000-2099. --- Great Britain. --- United States.

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• Reference Manager
• EndNote
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