1956 and All That: Making of Modern British Drama
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Review
"Rebellato's most provocative thesis is that the Royal Court's mission was to challenge a theatrical culture unhealthily dominated by gay men."
-"London Review of Books
"[A] fascinating volume... Recommended for upper-division undergraduate and graduate collections."
-"Choice, September 1999
-"London Review of Books
"[A] fascinating volume... Recommended for upper-division undergraduate and graduate collections."
-"Choice, September 1999
Product Description
It is said that British Drama was shockingly lifted out of the doldrums by the 'revolutionary' appearance of John Osborne's Look Back in Anger at the Royal Court in May 1956. But had the theatre been as ephemeral and effeminate as the Angry Young Men claimed? Was the era of Terence Rattigan and 'Binkie' Beaumont as repressed and closeted as it seems?
In this bold and fascinating challenge to the received wisdom of the last forty years of theatrical history, Dan Rebellato uncovers a different story altogether. It is one where Britain's declining Empire and increasing panic over the 'problem' of homosexuality played a crucial role in the construction of an enduring myth of the theatre. By going back to primary sources and rigorously questioning all assumptions, Rebellato has rewritten the history of the Making of Modern British Drama.
In this bold and fascinating challenge to the received wisdom of the last forty years of theatrical history, Dan Rebellato uncovers a different story altogether. It is one where Britain's declining Empire and increasing panic over the 'problem' of homosexuality played a crucial role in the construction of an enduring myth of the theatre. By going back to primary sources and rigorously questioning all assumptions, Rebellato has rewritten the history of the Making of Modern British Drama.
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First Sentence
The politics of Look Back in Anger, have generally been characterised as, if not explicitly aligned to one movement or other, defiantly resistant. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
The politics of Look Back in Anger, have generally been characterised as, if not explicitly aligned to one movement or other, defiantly resistant. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Customer Reviews
Most Helpful Customer Reviews
9 of 9 people found the following review helpful
Format:Paperback
Like all good writing this book offers us an alternative to what we take for granted. The reader will find an alternative queer history of theatre, substantiated by meticulous research, made accessable through a wonderfully engaging writing style. Close attention is paid to the cultural standards of life in Britain, with fascinating analysis of the decline of Empire, and the extraordinary lengths to which many went to reconstitute Britain's place in the world. This filtered down to the private and public realm, divided along a binary faultline, which Rebellato exposes beautifully.Along with the cultural anthropology are some dynamic textual analysis from some of the most fascinating plays of the era, Rebellato links these plays to a sense of alienation, or a divorce of feeling - which he exposes as a cultural anxiety and not a failing of playwriting of the period. It is fascinating to see the emergence of coding and identifying the place of the homosexual within theatre, and it is doubly amazing to see the camp culture that emerged from this scrutiny. Surprise is a constant element of the work.
Great fun, and thought provoking.
Great fun, and thought provoking.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
1 of 1 people found the following review helpful
On of the best books on modern British theatre!
24 Mar 2005
Format:Paperback
An excellent in-depth account and critical analysis of modern British theatre, a derobing of the myths surrounding it's 'revolution' in the 1950's with John Osbourne's play 'Look Back in Anger', and an injection of 'poison' in terms of sexual politics. For me it has also served as a great referential source for British theatre companies, stages and playwrights. I highly recommend this book to anyone who seriously wants to know about modern British theatre.
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