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Item Details
| Title:
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THE THEATRE OF D.H. LAWRENCE
DRAMATIC MODERNIST AND THEATRICAL INNOVATOR |
| By: |
James Moran |
| Format: |
Hardback |
| List price:
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£110.00 |
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We currently do not stock this item, please contact the publisher directly for
further information.
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| ISBN 10: |
1472570383 |
| ISBN 13: |
9781472570383 |
| Publisher: |
BLOOMSBURY PUBLISHING PLC |
| Pub. date: |
19 November, 2015 |
| Series: |
Critical Companions |
| Pages: |
264 |
| Synopsis: |
This is the first major book-length study for four decades to examine the plays written by D. H. Lawrence, and the first ever book to give an in-depth analysis of Lawrence's interaction with the theatre industry during the early twentieth century. It connects and examines his performance texts, and explores his reaction to a wide-range of theatre (from the sensation dramas of working-class Eastwood to the ritual performances of the Pueblo people) in order to explain Lawrence's contribution to modern drama. F. R. Leavis influentially labelled the writer 'D. H. Lawrence: Novelist'. But this book foregrounds Lawrence's career as a playwright, exploring unfamiliar contexts and manuscripts, and drawing particular attention to his three most successful works: The Widowing of Mrs Holroyd, The Daughter-in-Law, and A Collier's Friday Night. It examines how Lawrence's novels are suffused with theatrical thinking, revealing how Lawrence's fictions - from his first published work to the last story that he wrote before his death - continually take inspiration from the playhouse.The book also argues that, although Lawrence has sometimes been dismissed as a restrictively naturalistic stage writer, his overall oeuvre shows a consistent concern with theatrical experiment, and manifests affinities with the dramatic thinking of modernist figures including Brecht, Artaud, and Joyce. In a final section, the book includes contributions from influential theatre-makers who have taken their own cue from Lawrence's work, and who have created original work that consciously follows Lawrence in making working-class life central to the public forum of the theatre stage. |
| Publication: |
UK |
| Imprint: |
Bloomsbury Academic |
| Returns: |
Non-returnable |
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