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Çağdaş İngiliz Tiyatrosu Estetiğinin Değişen Algısı ve Mark Ravenhill

Year 2016, Issue: 7, 113 - 128, 30.10.2016
https://doi.org/10.18795/ma.70519

Abstract

This study aims to scrutinize the 1990’s British theatre aesthetic and in-yer-face theatre which experienced many fluctuations that determine the movement of current theatre tendency. In-yer-face theatre was initiated in the early 1990s by appearing Sarah Kane on Royal Court. In this study, it is put forward the historical background of the British theatre from Look Back in Anger (1956) that revealed a new theatre aesthetic in that term. After the background information about in-yer-face theatre, it mainly focuses on Mark Ravenhill who is one of the most prominent figures of  British Theatre in1990’s which is called nasty nineties that includes in violence, scenes of rape, cannibalism, depression, alienation, consumerist culture, and sexuality on stage. 

References

  • BILLINGHAM, Peter (2007). At the Sharp End, London: Methuen Drama.
  • BILLINGTON, Michael (1996). “Fabulous Five”, The Guardian (The Gurdian2 Supplement), 13th March: 10-11.
  • BILLINGTON, Michael (1993). One Night Stands: A Critic’s View of Modern British Theatre, London: Nick Hern.
  • BILLINGTON, Michael (2007). State of the Nation: British Theatre Since 1945, London: Faber and Faber.
  • BOLES, William, C. (1999). “Violence at the Royal Court, Martin McDonagh’s The Beauty Queen of Leenare and Mark Ravenhill’s Shopping and F***ing.”, Theatre and Violence, pp.125-135, Alabama: University Alabama Press.
  • DE BUCK, Gerty (2009). Homosexuality and Contemporary Society in Mark Ravenhill’s Works, (Unpublished Master Thesis), Master Thesis Ghent University, Ghent.
  • DE VOS, Jozef (2002). Ravenhill’s Wilde Game, Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium, ed. Marc Maufort and Franca Bellarsi, Brussels: P.I.E.-Peter Lang.
  • INNES, Cristopher (1992). Modern British Drama: 1890-1990, Cambridge: Cambridge University Press.
  • LUCKHURST, M., Infammy; YOUNG, D. & KANE, S. (2005). 1971-1999 in Theatre and Celebrity in Britain, 1660-2000, ed. By Mary Luckhurst and Jane Meody, New York: Palgrave Mac Million.
  • MONFORTE, Enric (2007). Mark Ravenhill”in British Theatre of the 1990s, ed. M. Aragay, H. Klein, E. Monforte, P. Zozoya, New York: Palgrave Macmillan.
  • RABEY, David I. (2003). English Drama since 1940, London: Longman Literature in English.
  • RAVENHILL, Mark (2001). Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids, London: Methuen Drama.
  • RAVENHILL, Mark (2004). “A Tear in The Fabric: The James Bulgur Murder and New Theatre Writing in the Nineties”, New Theatre Quarterly, 26 (Winter-Spring): 305-314.
  • RAVENHILL, Mark (a) (2006). “The Beauty of Brutality”, The Guardian, London,. http://www.guardian.co.uk/stage/2006/oct/28/theatre.stage/print
  • RAVENHILL, Mark (b) (2006). “Me My iBook, and Writing in America”, Contemporary Theatre Review, 16(1): 131-138.
  • RAVENHILL, Mark (2008). “My Near Death Period”, The Guardian 26th March Web. https://www.theguardian.com/stage/2008/mar/26/theatre
  • RAVENHILL, Mark (2003). “A Touch of Evil”, The Guardian, 22nd March https://www.theguardian.com/stage/2003/mar/22/theatre.artsfeatures
  • REBELLATO, Dan (2001). “Introduction” to Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids by Mark Ravenhill, pp: ix-xx, London: Metheun Drama.
  • REBELLATO, Dan (1999). “Sarah Kane: an Appreciation”, New Theatre Quarterly, pp: 280-281.
  • SIERZ, Aleks (2001). In-yer-face Theatre: British Drama Today, London: Faber and Faber.
  • SIERZ, Aleks (2002). “Still In-Yer-Face? Towards a Critique and a Summation”, New Theatre Quarterly, pp. 17-24, Cambridge: Cambridge University Press.
  • SKOVMAND, Michael (1975). The Angry Young Man, ed. by Michel and Stefan Skovmand, Vognmagergade: Akademisk Forlag.
  • SVICH, Caridad (2003). “Commerce and Morality in the theatre of Mark Ravenhill”, Contemporary Theatre Review, 13(1): 81-95.
  • THATCHER, Margaret, Women’s Own Magazine, October 31, 1987. http://www.margaretthatcher.org/document/106689.
  • THIJS, Goethals (2010), A Comparative Study on Mark Ravenhill’s Shopping and F***ing and John Osborne’s Look Back in Anger, (Unpublished Master Thesis), Ghent University.
  • URBAN, Ken (2001). “An Ethichs of Catastrophe: The Theatre in PAJ”, A Journal of Performance and Art, 23(3): 36-46.
  • WALLACE, Clare (2005). “Responsibility and Postmodernity: Mark Ravenhill and 1990s British Drama”, Universitas Masarykiana, in Proceedings from the Eight Conference of British, American and Canadian Studies, pp. 269-275, Theory and Practice in English 4.
Year 2016, Issue: 7, 113 - 128, 30.10.2016
https://doi.org/10.18795/ma.70519

Abstract

References

  • BILLINGHAM, Peter (2007). At the Sharp End, London: Methuen Drama.
  • BILLINGTON, Michael (1996). “Fabulous Five”, The Guardian (The Gurdian2 Supplement), 13th March: 10-11.
  • BILLINGTON, Michael (1993). One Night Stands: A Critic’s View of Modern British Theatre, London: Nick Hern.
  • BILLINGTON, Michael (2007). State of the Nation: British Theatre Since 1945, London: Faber and Faber.
  • BOLES, William, C. (1999). “Violence at the Royal Court, Martin McDonagh’s The Beauty Queen of Leenare and Mark Ravenhill’s Shopping and F***ing.”, Theatre and Violence, pp.125-135, Alabama: University Alabama Press.
  • DE BUCK, Gerty (2009). Homosexuality and Contemporary Society in Mark Ravenhill’s Works, (Unpublished Master Thesis), Master Thesis Ghent University, Ghent.
  • DE VOS, Jozef (2002). Ravenhill’s Wilde Game, Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium, ed. Marc Maufort and Franca Bellarsi, Brussels: P.I.E.-Peter Lang.
  • INNES, Cristopher (1992). Modern British Drama: 1890-1990, Cambridge: Cambridge University Press.
  • LUCKHURST, M., Infammy; YOUNG, D. & KANE, S. (2005). 1971-1999 in Theatre and Celebrity in Britain, 1660-2000, ed. By Mary Luckhurst and Jane Meody, New York: Palgrave Mac Million.
  • MONFORTE, Enric (2007). Mark Ravenhill”in British Theatre of the 1990s, ed. M. Aragay, H. Klein, E. Monforte, P. Zozoya, New York: Palgrave Macmillan.
  • RABEY, David I. (2003). English Drama since 1940, London: Longman Literature in English.
  • RAVENHILL, Mark (2001). Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids, London: Methuen Drama.
  • RAVENHILL, Mark (2004). “A Tear in The Fabric: The James Bulgur Murder and New Theatre Writing in the Nineties”, New Theatre Quarterly, 26 (Winter-Spring): 305-314.
  • RAVENHILL, Mark (a) (2006). “The Beauty of Brutality”, The Guardian, London,. http://www.guardian.co.uk/stage/2006/oct/28/theatre.stage/print
  • RAVENHILL, Mark (b) (2006). “Me My iBook, and Writing in America”, Contemporary Theatre Review, 16(1): 131-138.
  • RAVENHILL, Mark (2008). “My Near Death Period”, The Guardian 26th March Web. https://www.theguardian.com/stage/2008/mar/26/theatre
  • RAVENHILL, Mark (2003). “A Touch of Evil”, The Guardian, 22nd March https://www.theguardian.com/stage/2003/mar/22/theatre.artsfeatures
  • REBELLATO, Dan (2001). “Introduction” to Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids by Mark Ravenhill, pp: ix-xx, London: Metheun Drama.
  • REBELLATO, Dan (1999). “Sarah Kane: an Appreciation”, New Theatre Quarterly, pp: 280-281.
  • SIERZ, Aleks (2001). In-yer-face Theatre: British Drama Today, London: Faber and Faber.
  • SIERZ, Aleks (2002). “Still In-Yer-Face? Towards a Critique and a Summation”, New Theatre Quarterly, pp. 17-24, Cambridge: Cambridge University Press.
  • SKOVMAND, Michael (1975). The Angry Young Man, ed. by Michel and Stefan Skovmand, Vognmagergade: Akademisk Forlag.
  • SVICH, Caridad (2003). “Commerce and Morality in the theatre of Mark Ravenhill”, Contemporary Theatre Review, 13(1): 81-95.
  • THATCHER, Margaret, Women’s Own Magazine, October 31, 1987. http://www.margaretthatcher.org/document/106689.
  • THIJS, Goethals (2010), A Comparative Study on Mark Ravenhill’s Shopping and F***ing and John Osborne’s Look Back in Anger, (Unpublished Master Thesis), Ghent University.
  • URBAN, Ken (2001). “An Ethichs of Catastrophe: The Theatre in PAJ”, A Journal of Performance and Art, 23(3): 36-46.
  • WALLACE, Clare (2005). “Responsibility and Postmodernity: Mark Ravenhill and 1990s British Drama”, Universitas Masarykiana, in Proceedings from the Eight Conference of British, American and Canadian Studies, pp. 269-275, Theory and Practice in English 4.
There are 27 citations in total.

Details

Journal Section Research Article
Authors

Çağlayan Doğan

Publication Date October 30, 2016
Submission Date October 30, 2016
Published in Issue Year 2016 Issue: 7

Cite

APA Doğan, Ç. (2016). Çağdaş İngiliz Tiyatrosu Estetiğinin Değişen Algısı ve Mark Ravenhill. Mavi Atlas(7), 113-128. https://doi.org/10.18795/ma.70519

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