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1、BRITISHREALISTTHEATREWhenJohnOsborne’sLookBackinAngerexplodedontotheBritishstagein1956,itwasdescribedas‘thebestyoungplayofthedecade’;morerecentlyitwasdismissedasapiceof‘undilutedmisogyny’.ClearlythecriticalfortunesofbothOsborne’splayandofthe‘NewWave’ofdramatists,actorsanddire
2、ctorswhofollowedhimontothestagehavevariedintheinterveningyears.Unarguably,though,theperiodof1956–1965wasadefiningmomentinpost-warBritishtheatrehistory,inwhichnewpossibilitiesaroseforacontemporaryandengageddrama.Drawingonarangeofsources,StephenLaceyarguesthatthenewtheatreshoul
3、dbeseeninrelationtootherdevelopmentsinpost-warcultureandpolitics,includingsocialscience,thenovelandcinema.Thenewtheatrewasregardedasarealisttheatre,dramatisingthesocialexperienceofaworking-classunderthreatfromthenewprosperity.However,despitethecurrencyoftheterm,‘realism’inthe
4、periodisimperfectlyunderstoodandoftencrudelyapplied.Arguingthatrealismisbothatraditionofrepresentationandacriticalprespective,Laceyexaminestheconnectionbetweenparticularplaysandproductions,andtheassumptionsabouttheatricalformandoppositionalpoliticsthatshapedthewaythatthisthea
5、trewasvaluedbyitscontemporaries.StephenLaceyisaLecturerinDramaattheUniversityofReading.HehasworkedextensivelyincommunitytheatreinScotlandandEngland.BRITISHREALISTTHEATRETheNewWaveinitsContext1956–1965StephenLaceyLondonandNewYorkFirstpublished1995byRoutledge11NewFetterLane,Lon
6、donEC4P4EEThiseditionpublishedintheTaylor&Francise-Library,2002.SimultaneouslypublishedintheUSAandCanadabyRoutledge29West35thStreet,NewYork,NY10001Selectionandeditorialmatter©1995StephenLaceyAllrightsreserved.Nopartofthisbookmaybereprintedorreproducedorutilizedinanyformorbyan
7、yelectronic,mechanical,orothermeans,nowknownorhereafterinvented,includingphotocopyingandrecording,orinanyinformationstorageorretrievalsystem,withoutpermissioninwritingfromthepublishers.BritishLibraryCataloguinginPublicationDataAcataloguerecordforthisbookisavailablefromtheBrit
8、ishLibraryLibraryofCongressCataloguinginPublicationDataAcataloguerec
