Download Professions in Contemporary Drama (Theatre Studies) by Daniel Meyer-Dinkgräfe PDF

By Daniel Meyer-Dinkgräfe

A number of performs have pros as significant characters, yet academia has overlooked them to a wide extent.The Professions in modern British Drama fills this amazing hole with a chain of 9 papers discussing the academic professions (Bennett, Mangan), the scientific occupation (Shields, Buse, ), clergymen (Kurdi), archaeologists (Forsyth) and artists (Di Benedetto, Meyer-Dinkgr?fe, Edwards).The publication is of relevance to theatre teachers and scholars at either undergraduate and postgraduate degrees. it's in response to a convention organised at the side of the Centre for English reports, tuition of complicated stories, collage of London, 6 March 1998.

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To her the word ‘Flora’ means a brand of margarine; to Frank it is a classical allusion to the Roman goddess of flowers. And so, halfway through the play, when Frank invites her to a dinner party at his house she finds the cultural barrier to be one which she is almost physically unable to overcome: RITA: I walked up your drive, an’ I saw you all through the window, y’ were sippin’ drinks an’ talkin’ and laughin’. And I couldn’t come in. FRANK: Of course you could. RITA: I couldn’t. I’d brought the wrong sort of wine … you wouldn’t take sweet sparkling wine would y’?

Thus they are in a position to tell us what we are – and to that extent, who we are. They seem indeed to hold all the keys to the selfknowledge that we spend our lives in search of. As befits any professional, the mind-doctors are trained to their task; they are initiates. e. the minds of their patients) and a sure means to deal with it (them). g. asylums, clinics, drugs, electricity. However, the most significant source of their power – and one which, of course, they have in common with other professions – is to be found in their command of a professional language.

The result – madness. (What the Butler Saw, 26 ff) But while the pleasures of verbal outrage whirl us along, the underlying strain of physical abuse is constantly unsettling. Vocally, the characters remain unabashable, but their bodies are frequently and violently bashed. And in Orton’s world, this cannot be dismissed as the common currency of farce. The pervasive atmosphere of aggression bespeaks a world view. It is also noticeable that most of the violence and abuse is meted out by the mind-doctors themselves.

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