{"title":"Michael Billington. Affair of the Heart: British Theatre from 1992 to 2020. London: Methuen Drama, 2021, 303 pp., £25.00 (hardback), £22.50 (ebook).","authors":"Aleks Sierz","doi":"10.1515/jcde-2022-0031","DOIUrl":"https://doi.org/10.1515/jcde-2022-0031","url":null,"abstract":"","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"392 - 396"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47574366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Transnational Revision and Rewriting in Tanika Gupta’s Theatre","authors":"C. Schlote, G. Buonanno","doi":"10.1515/jcde-2022-0020","DOIUrl":"https://doi.org/10.1515/jcde-2022-0020","url":null,"abstract":"","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"261 - 265"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46029386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Tanika Gupta’s engagement with the works of contemporary bicultural writers invigorates her longstanding project of “staging the intercultural” (Gupta and Sierz 38). This essay discusses the ways in which the author juxtaposes her voice with that of Meera Syal who, since the 1980 s, has helped to shape the burgeoning field of British Asian women’s writing, while also establishing a distinct British Asian presence in the media. Similar to Gupta’s own writing, Syal has addressed cultural hybridity in her work and exposed the faultlines within British society, thus bringing into the open a racialized sense of the nation that is embedded in the entanglement of its colonial and postcolonial history. This article discusses Gupta’s appropriation of Anita and Me (2015) as a significant contribution to consolidating an Asian British women’s writing tradition that through transmedial and intertextual strategies favours legacy and canon formation. By dramatizing Syal’s coming-of-age novel Anita and Me, originally published in 1996, Gupta expands this work beyond both its original narrative form and its context of publication. She infuses it with an afterlife that sheds new light on the novel, while strengthening its relevance for contemporary cross-cultural audiences.
塔尼卡·古普塔(Tanika Gupta)对当代双文化作家作品的研究为她长期以来的“跨文化演出”项目注入了活力(Gupta and Sierz 38)。这篇文章讨论了作者如何将她的声音与Meera Syal的声音并置，自20世纪80年代以来，Meera Syal帮助塑造了英国亚裔女性写作的新兴领域，同时也在媒体中建立了独特的英国亚裔存在。与古普塔自己的作品类似，Syal在她的作品中讨论了文化混杂，揭露了英国社会的断层线，从而将一种种族化的民族意识带入了开放的视野，这种意识植根于其殖民和后殖民历史的纠缠中。本文讨论了古普塔挪用《安妮塔与我》(2015)作为巩固亚裔英国女性写作传统的重要贡献，该传统通过跨媒介和互文策略有利于遗产和经典的形成。古普塔改编了西尔1996年出版的成人小说《安妮塔和我》，使这部作品超越了原著的叙事形式和出版背景。她在书中注入了一个来世，为小说提供了新的视角，同时加强了它与当代跨文化读者的相关性。
{"title":"Adapting British Asian Women’s Stories: Tanika Gupta’s Anita and Me","authors":"G. Buonanno","doi":"10.1515/jcde-2022-0025","DOIUrl":"https://doi.org/10.1515/jcde-2022-0025","url":null,"abstract":"Abstract Tanika Gupta’s engagement with the works of contemporary bicultural writers invigorates her longstanding project of “staging the intercultural” (Gupta and Sierz 38). This essay discusses the ways in which the author juxtaposes her voice with that of Meera Syal who, since the 1980 s, has helped to shape the burgeoning field of British Asian women’s writing, while also establishing a distinct British Asian presence in the media. Similar to Gupta’s own writing, Syal has addressed cultural hybridity in her work and exposed the faultlines within British society, thus bringing into the open a racialized sense of the nation that is embedded in the entanglement of its colonial and postcolonial history. This article discusses Gupta’s appropriation of Anita and Me (2015) as a significant contribution to consolidating an Asian British women’s writing tradition that through transmedial and intertextual strategies favours legacy and canon formation. By dramatizing Syal’s coming-of-age novel Anita and Me, originally published in 1996, Gupta expands this work beyond both its original narrative form and its context of publication. She infuses it with an afterlife that sheds new light on the novel, while strengthening its relevance for contemporary cross-cultural audiences.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"344 - 357"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42221935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Alan Read. The Dark Theatre: A Book About Loss. London: Routledge, 2020, viii + 342 pp., £120.00 (hardback), £34.99 (paperback), £29.74 (ebook).","authors":"Marlena Tronicke","doi":"10.1515/jcde-2022-0032","DOIUrl":"https://doi.org/10.1515/jcde-2022-0032","url":null,"abstract":"","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"397 - 400"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49608124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Carina E. I. Westling. Immersion and Participation in Punchdrunk’s Theatrical Worlds. London: Bloomsbury Methuen, 2020, vi + 200 pp., £65.00 (hardback), £21.99 (paperback), £19.79 (PDF ebook).","authors":"Gareth R. T. White","doi":"10.1515/jcde-2022-0033","DOIUrl":"https://doi.org/10.1515/jcde-2022-0033","url":null,"abstract":"","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"401 - 404"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45509350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract First performed at Watford Palace Theatre in 2004, Tanika Gupta’s version of William Wycherley’s The Country Wife (1675) relocates the Restoration classic to twenty-first-century London, reframing its libertine plot as a witty satire on sexual and gender mores in contemporary Britain. In this new setting, Wycherley’s comic masterpiece is revisited from a multicultural perspective, and his merciless exposure of social hypocrisies becomes infused with the adaptor’s keen awareness of diversity and its complexities. This article draws attention to Gupta’s play as a culturally significant intervention in the reception history of Restoration theatre culture. By opening up Wycherley’s comedy to the representation of Britain’s “new ethnicities,” I suggest, Gupta’s work has paved the way for the more inclusive, multiculturally conscious approach to the Restoration canon that is observable in the new spate of revivals and adaptations produced during the last decade or so.
塔妮卡·古普塔(Tanika Gupta)的威廉·威切利(William Wycherley)的《乡下妻子》(The Country Wife, 1675)于2004年在沃特福德宫剧院(Watford Palace Theatre)首演，该剧将复辟时期的经典搬到了21世纪的伦敦，将其浪子情节重新塑造为对当代英国性和性别观念的诙谐讽刺。在这个新的背景下，威切利的喜剧杰作从多元文化的角度被重新审视，他对社会伪善的无情揭露融入了作者对多样性及其复杂性的敏锐意识。本文将把古普塔的戏剧作为复辟时期戏剧文化接受史上具有文化意义的干预。我认为，通过将威切利的喜剧向英国“新种族”的代表敞开大门，古普塔的作品为更包容、更有多元文化意识的复辟经典铺平了道路，这在过去十年左右的新一波复兴和改编中可以看到。
{"title":"The Country Wife, Southall Style: Restoration Comedy and the Multicultural Gaze","authors":"S. Soncini","doi":"10.1515/jcde-2022-0021","DOIUrl":"https://doi.org/10.1515/jcde-2022-0021","url":null,"abstract":"Abstract First performed at Watford Palace Theatre in 2004, Tanika Gupta’s version of William Wycherley’s The Country Wife (1675) relocates the Restoration classic to twenty-first-century London, reframing its libertine plot as a witty satire on sexual and gender mores in contemporary Britain. In this new setting, Wycherley’s comic masterpiece is revisited from a multicultural perspective, and his merciless exposure of social hypocrisies becomes infused with the adaptor’s keen awareness of diversity and its complexities. This article draws attention to Gupta’s play as a culturally significant intervention in the reception history of Restoration theatre culture. By opening up Wycherley’s comedy to the representation of Britain’s “new ethnicities,” I suggest, Gupta’s work has paved the way for the more inclusive, multiculturally conscious approach to the Restoration canon that is observable in the new spate of revivals and adaptations produced during the last decade or so.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"6 1","pages":"266 - 282"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41265457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Tanika Gupta’s varied work as a playwright encompasses transadaptation in a range of forms. This article will focus on two of her plays, Hobson’s Choice (2003/2019) and Wah! Wah! Girls (2012), exploring the ways in which she depicts representations of South Asian communities in Britain in different ways. Hobson’s Choice reworks the original 1916 play to being set among the Bengali community working in the rag trade in Salford. The play focuses on the father of the family, Hari Hobson, who runs a clothing factory and lives with his three daughters. The 2019 reworking of the play changes the setting to a Ugandan Asian family in Manchester in 1987. Wah! Wah! Girls is set in East London, having been commissioned as part of the Cultural Olympiad. Focusing on a mujra-style dancing club and the different communities surrounding it, the play includes transadaptations of well-known dance routines from Bollywood films integrated into the action, playing on nostalgia and familiarity for South Asian communities, as well as offering a picture of contemporary multicultural London. Both plays, in different ways, use transadaptation of setting and form to examine what it means to be British and Asian in different contexts, and this article will analyse whether this is successful in creating a meaningful interrogation of the experience of British South Asians on stage.
{"title":"Transadaptation and Bollywoodisation in Tanika Gupta’s Hobson’s Choice and Wah! Wah! Girls","authors":"Jerri Daboo","doi":"10.1515/jcde-2022-0024","DOIUrl":"https://doi.org/10.1515/jcde-2022-0024","url":null,"abstract":"Abstract Tanika Gupta’s varied work as a playwright encompasses transadaptation in a range of forms. This article will focus on two of her plays, Hobson’s Choice (2003/2019) and Wah! Wah! Girls (2012), exploring the ways in which she depicts representations of South Asian communities in Britain in different ways. Hobson’s Choice reworks the original 1916 play to being set among the Bengali community working in the rag trade in Salford. The play focuses on the father of the family, Hari Hobson, who runs a clothing factory and lives with his three daughters. The 2019 reworking of the play changes the setting to a Ugandan Asian family in Manchester in 1987. Wah! Wah! Girls is set in East London, having been commissioned as part of the Cultural Olympiad. Focusing on a mujra-style dancing club and the different communities surrounding it, the play includes transadaptations of well-known dance routines from Bollywood films integrated into the action, playing on nostalgia and familiarity for South Asian communities, as well as offering a picture of contemporary multicultural London. Both plays, in different ways, use transadaptation of setting and form to examine what it means to be British and Asian in different contexts, and this article will analyse whether this is successful in creating a meaningful interrogation of the experience of British South Asians on stage.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"327 - 343"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45024175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Dramatic acts of retrieving marginalised stories and of rewriting imperial history from a transnational perspective have been essential for efforts at decolonising knowledge. In The Empress (2013), Tanika Gupta explores the neglected history of Indian communities and the nexus of imperial labour and mobility in late-Victorian London through interlacing the fictional story of the Bengali ayah Rani and the Indian lascar Hari; the true story of the relationship between Queen Victoria and her Indian munshi Hafiz Mohammed Abdul Karim; and the stories of Westminster’s first Indian MP, Dadabhai Naoroji, and Mohandas Karamchand Gandhi. By foregrounding the urban experiences of diverging Indian servant characters in the sense of a critical cosmopolitanism and by privileging a heterogeneous “history from below,” this article explores how The Empress presents a counterstory to notions of a Dickensian London “full of bonnets and white people” (Royal Shakespeare Company, “Emma Rice”) and a critical intervention in discourses relating to the ethical challenges inherent in the commemoration and teaching of the British Empire.
{"title":"Indian Servitude(s) in Imperial London: Tanika Gupta’s The Empress","authors":"C. Schlote","doi":"10.1515/jcde-2022-0023","DOIUrl":"https://doi.org/10.1515/jcde-2022-0023","url":null,"abstract":"Abstract Dramatic acts of retrieving marginalised stories and of rewriting imperial history from a transnational perspective have been essential for efforts at decolonising knowledge. In The Empress (2013), Tanika Gupta explores the neglected history of Indian communities and the nexus of imperial labour and mobility in late-Victorian London through interlacing the fictional story of the Bengali ayah Rani and the Indian lascar Hari; the true story of the relationship between Queen Victoria and her Indian munshi Hafiz Mohammed Abdul Karim; and the stories of Westminster’s first Indian MP, Dadabhai Naoroji, and Mohandas Karamchand Gandhi. By foregrounding the urban experiences of diverging Indian servant characters in the sense of a critical cosmopolitanism and by privileging a heterogeneous “history from below,” this article explores how The Empress presents a counterstory to notions of a Dickensian London “full of bonnets and white people” (Royal Shakespeare Company, “Emma Rice”) and a critical intervention in discourses relating to the ethical challenges inherent in the commemoration and teaching of the British Empire.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"302 - 326"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41643375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Peter Eckersall and Helena Grehan, ed. The Routledge Companion to Theatre and Politics. London: Routledge, 2019, xx + 364 pp., £190.00 (hardback), £39.99 (paperback), £35.99 (ebook).","authors":"Julia Rössler","doi":"10.1515/jcde-2022-0030","DOIUrl":"https://doi.org/10.1515/jcde-2022-0030","url":null,"abstract":"","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"388 - 391"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48826955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article explores the relationship between form, content, and politics. It challenges some significant positions by no lesser figures than Bertolt Brecht and Heiner Müller on the need for radical forms to function as a prerequisite for imagining alternatives to the prevailing sociopolitical order. The main focus for analysis is Alistair McDowall’s Pomona (2014), a much-produced and much-lauded play that certainly has an experimental dramaturgy, but one which serves more conservative political ends. The article goes on, however, to identify an instance of “the weird” in the play and argues that an element of content rather than an experimental form can call the world of the play into question.
{"title":"The Politics of Experimental Drama: Unexpected Conformity and Weird Resistance in Alistair McDowall’s Pomona","authors":"David Barnett","doi":"10.1515/jcde-2022-0026","DOIUrl":"https://doi.org/10.1515/jcde-2022-0026","url":null,"abstract":"Abstract This article explores the relationship between form, content, and politics. It challenges some significant positions by no lesser figures than Bertolt Brecht and Heiner Müller on the need for radical forms to function as a prerequisite for imagining alternatives to the prevailing sociopolitical order. The main focus for analysis is Alistair McDowall’s Pomona (2014), a much-produced and much-lauded play that certainly has an experimental dramaturgy, but one which serves more conservative political ends. The article goes on, however, to identify an instance of “the weird” in the play and argues that an element of content rather than an experimental form can call the world of the play into question.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"358 - 374"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48281531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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