The Theatre of D H Lawrence

Dramatic Modernist and Theatrical Innovator James Moran. Millett, Kate, Sexual Politics (London: Virago, 1993). Modiano, Marko, 'An Early Swedish Stage Production of D.H. Lawrence's The DaughterinLaw', D.H. Lawrence Review, 17 (1984), ...

Author: James Moran

Publisher: Bloomsbury Publishing

ISBN: 9781472570390

Category: Literary Criticism

Page: 264

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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.
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The Theatre of D H Lawrence

"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 ...

Author: James Moran

Publisher:

ISBN: 1472570413

Category:

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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 20th 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.
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D H Lawrence s Non Fiction

'Being and not -being' builds up steadily until it becomes central to the description of Hamlet in 'The Theatre' , yet it still figures in 'San Gaudenzio' , and it informs the subject of emigration which becomes the primary focus of all ...

Author: David Ellis

Publisher: Cambridge University Press

ISBN: 9780521327398

Category: Literary Criticism

Page: 193

View: 436

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This is the first book devoted entirely to Lawrence's nonfictional writings. It focuses on a selection of representative texts, each of which is placed in an appropriate literary or historical context. These include the 'Study of Thomas Hardy', the two books about the Unconscious, the travel-writing - primarily Twilight in Italy and Sea and Sardinia - the largely autobiographical 'Introduction to Memoirs of the Foreign Legion by M. M' and the late 'thoughts in verse' called Pansies. David Ellis and Howard Mills challenge the automatic relegation to secondary status suffered by these works in the past and suggest a radical reassessment of Lawrence's literary profile of how his writings relate to one another and of where his greatest power and originality lie.
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D H Lawrence

Artaud set up an opposition between this conventional notion of theatrical direction and the idea of a dramatic and poetic language, where active symbols and living myths have to be summoned up on stage in order to evoke ancient, ...

Author: Simonetta de Filippis

Publisher: Cambridge Scholars Publishing

ISBN: 9781443898058

Category: Social Science

Page: 385

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In recent decades, critical and theoretical debate in the field of culture and literature has called into question many literary categories, has re-discussed the literary canon, and has totally renovated critical approaches in the wake of major changes in western society such as the irruption of new cultural identities, the disruption of the well-established Euro-centric conception, and the need to establish new world visions. D. H. Lawrence has been a focus for critical debate since his early publications in the first decades of the 20th century. The force of his thought, his courageous challenge against the most important values of western industrial society, his rejection of England and its bourgeois values, his choice to live in exile, his never-ending quest for lost vital meanings, his open-mindedness in coming into contact with different worlds and cultures, and the revolutionary impact of his writing have all provided critics with important issues for discussion. Most of Lawrence’s works are still being read and analysed through ever-new critical lenses and approaches. This volume brings together a selection of papers delivered at the 13th International D. H. Lawrence Conference, D. H. Lawrence: New Life, New Utterance, New Perspectives held in Gargnano in 2014, on Lake Garda: the place of Lawrence’s first Italian sojourn, where he started a “new life” with Frieda and a new phase as a writer. The essays selected for Part I of this volume offer new readings of Lawrence’s work and ideology through various theoretical and philosophical approaches, drawing comparisons with philosophers and thinkers such as Bataille, Darwin, Derrida, Heidegger, and Benjamin, among others. Part II focuses on translation, a concept which can be extended to cultural mediation, as it can be applied not only to the proper translation of texts from one language into another, but also to travel writing and to transcodification, as is the case of film versions of Lawrence’s novels.
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Modernists and the Theatre

Modernists and the Theatre is the first study to examine how theories of modernism intersect with those of the theatre within the works, philosophies and literary lives of six key modernist writers.

Author: James Moran

Publisher: Bloomsbury Publishing

ISBN: 9781350145511

Category: Literary Criticism

Page: 256

View: 745

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Modernists and the Theatre is the first study to examine how theories of modernism intersect with those of the theatre within the works, philosophies and literary lives of six key modernist writers. Drawing on a wealth of unfamiliar archive material and fresh readings of neglected documents, James Moran reveals how these literary figures interacted with the theatre through playwriting, by engaging in philosophical debates and participating in theatrical performances. Chapters assess W.B. Yeats's very earliest playwriting, Ezra Pound's onstage acting, the interconnections between James Joyce's and D.H. Lawrence's sense of drama, Eliot's thinking about theatre in Dublin, and the feminist politics of Virginia Woolf's small-scale theatrical experiments. While these writers valued coterie production and often made hostile comments about drama, this volume highlights the paradoxical fact that, despite their harsh words, the theatrically 'large-scale' also attracted each of these writers. The theatre event of 'restricted production' offered modernists a satisfying mode of sharing their work amongst the like-minded, and the book discloses a set of unfamiliar events of this sort that allowed these writers to act as agents of legitimation in granting cultural value. The book explores their engagements with popular drama, as well as the long-forgotten acting performances in which each of these writers personally participated. Moran uncovers how the playhouse became a key geographical space where the high-modernists could explore a tension that fascinated them, and which motivated much of their wider thinking and literary work.
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Touch and Go

Inspired by Lawrence's own experiences with mining, this classic play explores the lives of a group of miners as they navigate struggles with power dynamics, along with the consequences of their many conflicts.

Author: D.H. Lawrence

Publisher: Lindhardt og Ringhof

ISBN: 9788726954654

Category: Drama

Page: 66

View: 422

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Inspired by Lawrence's own experiences with mining, this classic play explores the lives of a group of miners as they navigate struggles with power dynamics, along with the consequences of their many conflicts. DH Lawrence (1885-1930) was an English poet and novelist. Famed for his lyrical prose, he was uncompromising in his mission to uncover the consequences of modernity and industrialization, particularly on sexuality, instinct, and spontaneity. His works, although innovative, were not truly appreciated until after his death, the most notable of which 'Lady Chatterley's Lover' was adapted to screen in 1981.
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Ireland Revolution and the English Modernist Imagination

11 In 1928, Lawrence's antipathy culminated in his venomous creation of the playwright Michaelis,Constance Chatterley's ... On Synge as influence see James Moran, The Theatre of D.H. Lawrence: Dramatic Modernist and Theatrical Innovator ...

Author: Eve Patten

Publisher: Oxford University Press

ISBN: 9780192640222

Category: Literary Criticism

Page: 256

View: 799

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This book asks how English authors of the early to mid twentieth-century responded to the nationalist revolution in neighbouring Ireland in their work, and explores this response as an expression of anxieties about, and aspirations within, England itself. Drawing predominantly on novels of this period, but also on letters, travelogues, literary criticism, and memoir, it illustrates how Irish affairs provided a marginal but pervasive point of reference for a wide range of canonical authors in England, including Wyndham Lewis, Virginia Woolf, D.H. Lawrence, Graham Greene, and Evelyn Waugh, and also for many lesser-known figures such as Ethel Mannin, George Thomson, and T.H. White. The book surveys these and other incidental writers within the broad framework of literary modernism, an arc seen to run in temporal parallel to Ireland's revolutionary trajectory from rebellion to independence. In this context, it addresses two distinct aspects of the Irish-English relationship as it features in the literature of the time: first, the uneasy recognition of a fundamental similarity between the two countries in terms of their potential for violent revolutionary instability, and second, the proleptic engagement of Irish events to prefigure, imaginatively, the potential course of England's evolution from the Armistice to the Second World War. Tracing these effects, this book offers a topical renegotiation of the connections between Irish and English literary culture, nationalism, and political ideology, together with a new perspective on the Irish sources engaged by English literary modernism.
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A History of Italian Theatre

With the aim of providing a comprehensive history of Italian drama from its origins to the time of its publication in 2006, this book treats theatre in its widest sense, discussing the impact of all the elements and figures integral to the ...

Author: Joseph Farrell

Publisher: Cambridge University Press

ISBN: 0521294789

Category: Drama

Page: 434

View: 700

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With the aim of providing a comprehensive history of Italian drama from its origins to the time of its publication in 2006, this book treats theatre in its widest sense, discussing the impact of all the elements and figures integral to the collaborative process of theatre-making. The impact of designers, actors, directors and impresarios as well as of playwrights is subjected to critical scrutiny, while individual chapters examine the changes in technology and shifts in the cultural climate which have influenced theatre. No other approach would be acceptable for Italian theatre, where from the days of commedia dell'arte, the central figure has often been the actor rather than the playwright. The important writers, such as Carlo Goldoni and Luigi Pirandello, receive detailed critical treatment, as do the 'great actors' of nineteenth-century theatre or the directors of our own time, but the focus is always on the bigger picture.
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