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UID:news605@english.philhist.unibas.ch
DTSTAMP;TZID=Europe/Zurich:20250502T162541
DTSTART;TZID=Europe/Zurich:20250514T121500
SUMMARY:State of the Nation: British Identity and its Playwriting Disconten
 ts
DESCRIPTION:New Writing for the British theatre is one of the national cult
 ure’s most creative achievements. Ever since the triumphant arrival of J
 ohn Osborne’s Look Back in Anger at the Royal Court in 1956\, the genr
 e of New Writing has been central to the story of British postwar drama. I
 t’s easy to remember its significant milestones\, such as Waiting for G
 odot\, The Birthday Party\, Saved\, Plenty\, Top Girls\, Leave Taking
 \, The Pitchfork Disney and Blasted\, as well as more recent work such 
 as Sugar Mummies\, Jerusalem\, Chimerica\, A Museum in Baghdad and N
 ye. I propose to revisit some of the classic plays that contribute to this
  narrative\, distinguishing between the mainstream and the leftfield side 
 of the phenomenon\, and showing how many of these writers and their works 
 both imagined aspects of the nation’s identity and\, often simultaneousl
 y\, criticised it. The theatre of the state has been a mirror of the state
  of the nation.
X-ALT-DESC:<p>New Writing for the British theatre is one of the national cu
 lture’s most creative achievements. Ever since the triumphant arrival of
  John Osborne’s&nbsp\;<em>Look Back in Anger</em>&nbsp\;at the Royal Cou
 rt in 1956\, the genre of New Writing has been central to the story of Bri
 tish postwar drama. It’s easy to remember its significant milestones\, s
 uch as&nbsp\;<em>Waiting for Godot</em>\,&nbsp\;<em>The Birthday Party</em
 >\,&nbsp\;<em>Saved</em>\,&nbsp\;<em>Plenty</em>\,&nbsp\;<em>Top Girls</em
 >\,&nbsp\;<em>Leave Taking</em>\,&nbsp\;<em>The Pitchfork Disney</em>&nbsp
 \;and&nbsp\;<em>Blasted</em>\, as well as more recent work such as&nbsp\;<
 em>Sugar Mummies</em>\,&nbsp\;<em>Jerusalem</em>\,&nbsp\;<em>Chimerica</em
 >\,&nbsp\;<em>A Museum in Baghdad</em>&nbsp\;and&nbsp\;<em>Nye</em>. I pro
 pose to revisit some of the classic plays that contribute to this narrativ
 e\, distinguishing between the mainstream and the leftfield side of the ph
 enomenon\, and showing how many of these writers and their works both imag
 ined aspects of the nation’s identity and\, often simultaneously\, criti
 cised it. The theatre of the state has been a mirror of the state of the n
 ation.</p>
DTEND;TZID=Europe/Zurich:20250514T140000
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