从煽动性宣传到 "Primark 剧作 "的英国戏剧

IF 0.3 3区 艺术学 0 THEATER NEW THEATRE QUARTERLY Pub Date : 2024-10-10 DOI:10.1017/s0266464x24000204
David Edgar, Hakan Gültekin
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引用次数: 0

摘要

在 2023 年 2 月 16 日于伯明翰进行的这次采访中,哈坎-居尔特金与剧作家大卫-埃德加谈论了他的戏剧世界和英国戏剧的现状。长期以来,埃德加一直倡导剧作家的社会和经济权利,并在此指出,英国剧院缺乏长期和持续的支持,造就了他所谓的 "Primark剧作家"。他的剧作以仔细研究历史事件及其对社会的影响为特点,如他的史诗剧《命运》(Destiny,1976 年)由两部分组成,研究了英国工党运动的根源。其他著名剧作包括《借口借口》(1972 年)、《西贡玫瑰》(1976 年)、《清障者》(1977 年)以及受 Colway 剧院委托创作的《娱乐陌生人》(1986 年)。他还为皇家莎士比亚剧团创作过剧本,包括《阿尔比-萨克斯的监狱日记》(1978 年)、《五月天》(1983 年,2018 年重演)和《圣灵降临节》(1994 年)。最近,他为皇家莎士比亚剧团改编了《圣诞颂歌》(2017 年),并上演了独角戏《跃跃欲试》(2018 年)。1989 年,他在伯明翰大学创立了英国第一个剧本创作学位,并于 2007 年至 2013 年担任英国作家协会主席。
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British Theatre from Agitprop to ‘Primark Playwriting’

In this interview, which took place in Birmingham on 16 February 2023, Hakan Gültekin talks to playwright David Edgar about his theatre universe and the current state of British theatre. Edgar has long championed the social and economic rights of playwrights, and here suggests that the lack of long-term and sustained support from British theatres has created what he calls ‘Primark playwrights’. His plays are characterized by a careful examination of historical events and the impact of these events on society, as evident in his epic two-part play Destiny (1976), which examines the roots of the British Labour movement. Other notable plays include Excuses Excuses (1972), Saigon Rose (1976), Wreckers (1977), and Entertaining Strangers (1986), commissioned by the Colway Theatre. He has also written plays for the Royal Shakespeare Company, including The Jail Diary of Albie Sachs (1978), Maydays (1983, revived in 2018), and Pentecost (1994). More recently, he adapted A Christmas Carol for the RSC (2017) and staged the one-man show Trying It On (2018). He founded the first playwriting degree in Britain at the University of Birmingham in 1989, and served as President of the Writers’ Guild of Great Britain from 2007 to 2013.

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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
45
期刊介绍: New Theatre Quarterly provides a vital international forum where theatrical scholarship and practice can meet and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance, that theatre studies need a methodology and that theatre criticism needs a language. The journal publishes news, analysis and debate within the field of theatre studies.
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