by Howard Barker
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by Robert Leach
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by Anton Chekhov
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Cheviot, the Stag and the Black, Black Oil (Methuen Modern Plays) (World Classics) by John McGrath |
by Howard Barker
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Product Description
Lyn Gardner, The Guardian
`There is no such thing as a minor Howard Barker play. He packs
more into the slenderest dramas than most playwrights manage in an epic.'
Book Description
From Claw (1975), a savage and comic journey among the English
poor and the English powerful, to The Castle (1985), whose tragic
explorations of pain, absence, and sexuality, mark it out as one of the
most significant plays of its decade, Howard Barker both re-works and
re-defines the qualities which characterize his most individual voice - the
power of language both raw and poetic, the insistence on the imaginative as
against the naturalistic world, and the refusal of simple, dialectical
solutions to the dilemmas of private and social life. His meditations in a
play like Victory (1983) refuse easy categorization whilst affirming the
triumph of the human spirit in times of chaos, whilst his observations of
the horrors and ecstasies of the artistic life in No End of Blame (1981)
and the award winning Scenes from an Execution (1984) reveal a profound
engagement with the moral responsibilities of the artist in society.
In more detail:
`There is no such thing as a minor Howard Barker play. He packs
more into the slenderest dramas than most playwrights manage in an epic.'
Book Description
From Claw (1975), a savage and comic journey among the English
poor and the English powerful, to The Castle (1985), whose tragic
explorations of pain, absence, and sexuality, mark it out as one of the
most significant plays of its decade, Howard Barker both re-works and
re-defines the qualities which characterize his most individual voice - the
power of language both raw and poetic, the insistence on the imaginative as
against the naturalistic world, and the refusal of simple, dialectical
solutions to the dilemmas of private and social life. His meditations in a
play like Victory (1983) refuse easy categorization whilst affirming the
triumph of the human spirit in times of chaos, whilst his observations of
the horrors and ecstasies of the artistic life in No End of Blame (1981)
and the award winning Scenes from an Execution (1984) reveal a profound
engagement with the moral responsibilities of the artist in society.
In more detail:
'Claw' is a savage and comic portrayal of life among the post-war poor:
it shows realistically the British way of life after 1945; brutish,
deprived but in many ways colourful with its class-hatreds, sexual freedoms
and Political conflicts.
'No End of Blame': This play is based on the life of Vicky Weiss, the
brilliant cartoonist whose work appeared in many British newspapers,
especially the Evening Standard and The New Statesman. In the play, which
starts during the white terror in Hungary that followed the first World War
and the Russian Revolution, a young artist barely escapes the slaughter and
ends up in Britain.
'Victory': Set against the backdrop of restoration Britain
characterises the revanchist return of Charles II and the Cavaliers. The
returning Cavaliers persecute the remaining Roundheads, even to the point
of exhuming the decomposed parts of the dead. Bradshaw, widow of a late
Cromwellian minister, sets out to find and reunite the parts of her
husband's body. A powerful play with a political edge that has proved one
of the author's most successful.
'Scenes from an Execution' explores the relationship between artist and
his or her responsibility to the state is explored. It was originally
written for radio and won the prestigious Italia prize in an all-Europe
competition. Set in Venice after the battle of Lepanto, it dramatises the
dilemma of an artist who against the direction of the Doge wishes to paint
the brutal truth of war not to falsify the legacy of war which leads to her
falling out of favour. An exploration into the moral responsibility of the
artist.
'The Castle': Set in medieval Spain, The castle shows the lengths to
which the returning Crusaders will go to subjugate the women who have
created a feminist commune in their absence. A tragic exploration of pain,
absence and sexuality.
See all Product Description
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Arguments for a Theatre by Howard Barker The author of over 30 plays, including "The Castle", "Scenes from an...
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