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Positive influence: Harold Pinter an...

University of California, Santa Barbara., Dramatic Art.

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Positive influence: Harold Pinter and the In-Yer-Face generation.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Positive influence: Harold Pinter and the In-Yer-Face generation./
作者:	Shaw, Marc E.
面頁冊數:	213 p.
附註:	Adviser: Catherine M. Cole.
Contained By:	Dissertation Abstracts International69-09A.
標題:	Literature, English. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3330480
ISBN:	9780549844921

Positive influence: Harold Pinter and the In-Yer-Face generation.
Shaw, Marc E.

Positive influence: Harold Pinter and the In-Yer-Face generation. - 213 p.

Adviser: Catherine M. Cole.

Thesis (Ph.D.)--University of California, Santa Barbara, 2008.

In the 1990s, a group of young playwrights dubbed the In-Yer-Face generation shook up British theatre, but as their Zeitgeist passed, critics wondered if their plays were any good or of long-term worth. To show the lasting value of the In-Yer-Face generation within the context of the past half-century of British theatre, this study demonstrates how these plays---Anthony Neilson's Penetrator (1993), Mark Ravenhill's Shopping and Fucking (1996), and Patrick Marber's Closer (1997)---respond and add to the work of the foremost theatrical figure of the era, Harold Pinter. Pinter navigated a successful forty-year career, earning the Nobel Prize for Literature (2005) by keeping on the cutting edge of dramatic innovation and influencing playwrights who followed him. Pinter influences Neilson, Ravenhill, and Marber, but not only in a traditional manner: while, historically, influence flows from A to B (writer-to-writer or text-to-text), this study proposes an element of reciprocity between texts and generations. These confluences---what Mary Orr terms positive influence---validate the In-Yer-Face plays as contributions to British theater and culture, while also responding to recent debates in Pinter scholarship.

ISBN: 9780549844921Subjects--Topical Terms:

1017709
Literature, English.

Positive influence: Harold Pinter and the In-Yer-Face generation.
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245 1 0 $a Positive influence: Harold Pinter and the In-Yer-Face generation.
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500 $a Source: Dissertation Abstracts International, Volume: 69-09, Section: A, page: 3397.
502 $a Thesis (Ph.D.)--University of California, Santa Barbara, 2008.
520 $a In the 1990s, a group of young playwrights dubbed the In-Yer-Face generation shook up British theatre, but as their Zeitgeist passed, critics wondered if their plays were any good or of long-term worth. To show the lasting value of the In-Yer-Face generation within the context of the past half-century of British theatre, this study demonstrates how these plays---Anthony Neilson's Penetrator (1993), Mark Ravenhill's Shopping and Fucking (1996), and Patrick Marber's Closer (1997)---respond and add to the work of the foremost theatrical figure of the era, Harold Pinter. Pinter navigated a successful forty-year career, earning the Nobel Prize for Literature (2005) by keeping on the cutting edge of dramatic innovation and influencing playwrights who followed him. Pinter influences Neilson, Ravenhill, and Marber, but not only in a traditional manner: while, historically, influence flows from A to B (writer-to-writer or text-to-text), this study proposes an element of reciprocity between texts and generations. These confluences---what Mary Orr terms positive influence---validate the In-Yer-Face plays as contributions to British theater and culture, while also responding to recent debates in Pinter scholarship.
520 $a Each confluence between Pinter and the In-Yer-Face plays constitutes positive influence because it calls for cultural change in different ways. Anthony Neilson's Penetrator reworks Pinter's "room play" form to affirm new ideas about masculine identity; Ravenhill's Shopping and Fucking becomes a homecoming play wherein the postmodern family cannot escape its late capitalist trappings like Ruth from The Homecoming (1965) could a generational or two earlier; Marber's Closer adds a fourth character to Betrayal's (1978) love-triangle exploration of sex and deceit, furthering Pinter's examination of female identity and characterization. In fact, starting with Anthony Neilson's reworking of the room play form, we awake to an evolution in Pinter's writing that unfolds in this study: from the overt masculinity of the early room plays, to Ruth's emerging female power, to the more natural and open-ended characterization of Emma in Betrayal, to the chilling mix of family life and atrocity in Pinter's later political works. Finally, in a post-In-Yer-Face example of Pinter-imitation sans positive influence that contrasts with the three preceding chapters, Ravenhill's The Cut (2006) and Jez Butterworth's The Winterling (2006) utilize Pinteresque forms without infusing any new ideas.
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