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The most controversial and newsworthy plays of British theatre are a rash of rude, vicious and provocative pieces by a brat pack of twentysomethings whose debuts startled critics and audiences with their heady mix of sex, violence and street-poetry. In-Yer-Face Theatre is the first book to study this exciting outburst of creative self-expression by what in other contexts has been called Generation X, or Thatcher's Children, the 'yoof' who grew up during the last Conservative Government. The book argues that, for example, Trainspotting, Blasted, Mojo and Shopping and F**king are much more than a collection of shock tactics - taken together, they represent a consistent critique of modern life, one which focuses on the problem of violence, the crisis of masculinity and the futility of consumerism. The book contains extensive interviews with playwrights, including Sarah Kane (Blasted), Mark Ravenhill (Shopping and F**king), Philip Ridley (The Pitchfork Disney), Patrick Marber (Closer) and Martin McDonagh (The Beauty Queen of Leenane).
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'A definitive new book on the phenomenon [of in-yer-face theatre]' Saturday Telegraph
'A definitive new book on the phenomenon [of in-yer-face theatre]' Saturday Telegraph
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Most Helpful Customer Reviews
29 of 31 people found the following review helpful:
4.0 out of 5 stars
Well-argued and readable account of 1990s British theatre,
By A Customer
This review is from: In-yer-face Theatre: British Drama Today (Paperback)
Sierz argues that much 1990s British theatre can be characterised as possessing a shared sensibility, which he labels 'in-yer-face'. He is referring here to work by Sarah Kane, Mark Ravenhill, Patrick Marber, Alex Nielson, Joe Penhall, Phyllis Nagy, Jez Butterworth and others - edgy, violent, graphic and, for Sierz, 'experiential'. By this he means the plays don't debate issues so much as put the audience through the experience they explore - not literally, of course, but emotionally. There was certainly a new and exciting mood in th theatre in the 90s, though whether everyone will agree with Sierz's definition of it is another matter. I persnally found his arguments convincing and was impressed by his fair-minded and thorough approach to the topic, and by the depth of his research. His book is an excellent introduction to the theatre of the past ten years, and a thought-provoking one. In the same class as 'The Theatre of the Absurd', 'Anger and After' or Elsom's 'British Theatre Since 1945', though some will consider Sierz's concentration on playwrights an antiquated approach.
1 of 1 people found the following review helpful:
3.0 out of 5 stars
Worth reading,
This review is from: In-yer-face Theatre: British Drama Today (Paperback)
A very easy read and a good introduction to the 90's newer playwrights. The first chapter is particularly useful as a contextualisation of violence, (graphic or otherwise), on the modern stage, identifying this as staple diet for western theatre, citing Oedipus as a prime example. This book acts as a good starting point for debate amongst A2 level students or even 1st year undergraduates as to how far boundaries have been widened and where to next.
18 of 23 people found the following review helpful:
5.0 out of 5 stars
Brilliant journey into the latest great contemporary movemen,
By c_storm60@hotmail.com (Camberley, england) - See all my reviews
This review is from: In-yer-face Theatre: British Drama Today (Paperback)
I bought this book to write an essay on Saah kane with and could not put it down. it is written in such a straight forward accessible and interesting way that it becomes not only a source of research but a really great read as well. It is written by a man who totally understands the theatre he is writing about and the aims and stylea of the palywrights he focuses on. it includes interviews with the likes of Ravenhill and kane, media reactions to their plays, insights into the workings of the royal Court Theatre and The Bush theatre and is a must for any one studying or interested in contemporary nineties theatre, or anyone wanting a good, exciting, well written and factual read about theatre in general. its a fascinating worthy read. i loved it.
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