Identity and atrocity: international theatre since 1945

This post is to publicise my lecture series this term on Identity and Atrocity in Anglophone theatre since 1945. It’ll be happening on Fridays at 11.15 in Lecture Room K of the English Faculty for Weeks 1–5 of term (18 Jan to 15 Feb), and the outline is below. For more information, leave a comment or email me (sophie.duncan at chch.ox.ac.uk). I’ll be tweeting about the lecture series at #IDtheatre – please join in, whether you’re attending or not!

Description:

This series looks at theatre written and performed in Britain, Ireland, America, South Africa and continental Europe since 1945, thinking about how drama presents transgressive and marginalised racial, sexual, and national identities when plays bring the past onstage. The plays in this series, disparate in form and setting, introduce post-1945 drama’s international contexts, exploring some of theatre’s most iconoclastic and influential responses to atrocity. All plays listed below are available via the database Drama Online, except The Island, copies of which are available in various university libraries. Key primary texts include:

Week 1: Southern Gothic, Gay Panic: Tennessee Williams’s Cat On A Hot Tin Roof (1955) and Suddenly Last Summer (1958).

Week 2: Beckett’s History Plays: Krapp’s Last Tape (1957)and Endgame (1958).

Week 3: Colonialism: fantasies and nightmares in Caryl Churchill’s The Hospital at the Time of the Revolution (1972) and Timberlake Wertenbaker’s Our Country’s Good (1988).

Week 4: Sexuality and the Holocaust play: Martin Sherman’s Bent (1979)and Sarah Kane’s Cleansed (1998).

Week 5: Blackness and Adaptation: Athol Fugard, John Kani, and Winston Ntshona’s The Island (1972) and Lolita Chakrabarti’s Red Velvet (2012).

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