By Charles Lamb
This paintings offers a learn of British playwright Howard Barker. the writer starts off by way of evaluating Barker to Edward Bond with the purpose of showing what he perceives as being their diametrically hostile options in regards to the functionality of drama. This publication additionally appears to be like at Barker opposed to the realm of deconstructive and postmodern inspiration, which ends up in the author's "Theory of Seduction", during which Barker's performs are thought of from an attitude derived from Baudrillard's principles approximately seduction.
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Extra resources for Howard Barker's Theatre of Seduction (Routledge Harwood Contemporary Theatre Studies)
14 Some leftist theatre practitioners have tended to argue a distinction between ‘naturalism’ and ‘realism’ on the basis that the former is imbued with reactionary bourgeois individualist values while the latter presents a progressive socialist perspective. David Edgar, among others, has advocated this form of ‘realism’: …the dominant form of television drama is naturalism, which shows people’s behaviour as conditioned, primarily or exclusively, by individual and psychological factors. 15 Edgar sees drama here as a vehicle for ideology and advances the somewhat simplistic notion that whereas the individual and psychology are appropriated, the social and the political are per se oppositional.
33 Apart from the fact that the literary element is essential to the tradition of European drama and to refuse literature is to refuse engagement with that tradition, the anti-literature lobby tend to confuse matters by advancing the argument that while words are clearly the medium of literature, action is the proper medium of drama. This ignores the fact that most acts which may be said to carry dramatic significance are speech acts. When Aristotle emphasises that tragedy is essentially ‘action’, it is for the purposes of defining it over against (dran) whence ‘drama’ is epic which involves ‘reportage’ (narration).
Production, like the revolution, puts an end to the epidemic of appearances. 5 The world of production must repress the action of seduction, marginalise it, trivialise it or reduce it; seduction’s potency is evidenced in its persistence—in spite of an apparently all powerful rationality, it will not be exterminated. It is in the light of seduction theory, bearing in mind Derrida’s conception of discursive ‘truth’ as deferring ultimately to a self-present speech, that I wish to consider the theatrical moment.
Howard Barker's Theatre of Seduction (Routledge Harwood Contemporary Theatre Studies) by Charles Lamb