This presentation looks at the history of the English Language in Ireland through the drama of Brian Friel. It contains several extracts for close scene analysis and discusses the play in relation to its major theme: the colonisation and dominance of the English Language (tradition vs modernity). The slides also cover the history of the Abbey Theatre and several quotes from the playwright himself (Brian Friel), the poet Seamus Heaney, and critics such as Desmond Rushe. The last two slides outline Claude Lévi-Strauss’ ‘hot and cold societies’ theory and then look towards Welsh identity, mentioning the play Mother Tongue by Roger Williams.

This presentation explores Postdramatic Theatre. It begins by defining ‘drama’, ‘theatre’, and ‘performance’, before giving a clear and detailed explanation of the Postdramatic. Hans-Thies Lehmann’s theoretical writings are quoted from and explained in relation to the work of Robert LePage, Robert Wilson, and Forced Entertainment. The presentation contains video clips, photographs of performances, helpful quotations from practitioners and critics as well as tasks for students to expand their learning. The Postdramatic is broken down into easy to follow slides that look at the aspects of the Postdramatic including textscapes, the visual, time, repetition, and the body. The final slide offers quotations from Tim Etchells about the notion of risk in the work of the Postdramatic.

This presentation is about Sarah Kane’s exploration of National Identity in her infamous play Blasted. Each slide contains quotes, images, factual information, and videos about Sarah Kane and In-Yer-Face Theatre. The powerpoint focuses on extracts from Blasted that examine human frailty, compassion, brutality, and powerlessness. It asks how Kane manages to evoke compassion through violence and uses the theory of Susan Sontag and the history of the Bosnian War (1992-1995) to unpick the relationship between the Soldier, Ian and Kate in the play. There are also many ‘thinking points’, including a video discussion of the (un)ethical nature of Kane’s drama and theorist Hanna Arendt’s ‘Reflections on Violence’.

This presentation highlights some of the major shifts in recent theatre history that have become significant moments for the recognition of women’s playwrighting and theatre making. With examples from Judy Chicago’s Feminist Art Program, the first Women’s Theatre Conference, critic Michelene Wandor’s influential study of sexual politics in the theatre, and women’s theatre groups from the 1970s, the slides trace the history of women’s playwriting. The powerpoint then focuses on the work and influence of Caryl Churchill, especially her play Vinegar Tom. Critics like Janelle Reinelt and Elin Diamond are also quoted in a clear, easy to follow manner. A final slide contains some recommended reading suggestions.

This presentation looks at Ibsen’s drama focusing on his major play: Hedda Gabler. The sildes offer detailed information on and colourful examples of the historical context, gender politics, and themes of Ibsen’s drama. The powerpoint then examines Hedda’s character with links to short videos of performers such as Ruth Wilson discussing playing the role and what makes Hedda tick. This presentation is useful for anyone interested in Ibsen’s drama, feminism in his work, and performing his tragic heroine: Hedda Gabler.

This presentation focuses on theatre during the 1960s and Postmodernism. It is useful for anyone interested in the artistic trends and socio-political events of the '60s. It refers to the work of Patrice Pavis to discuss the shift of focus from the actor to the spectator and then looks at ‘Off-Off Broadway’ performances. Jerzy Grotowski’s ‘Poor Theatre’, The Living Theatre, The Open Theatre, and Robert Wilson’s productions are looked at in turn. The Wooster Group moves the presentation forward to explain Postmodernism with reference to the ideas of Jacques Lacan, Jean-François Lyotard, Fredric Jameson, and Baudrillard.

This presentation outlines the shift in drama from Realist to Symbolist to Modernist forms of theatre. It uses work by Chekhov, Maeterlink, and Beckett to illustrate the differences between representational and Avant-Garde playwrighting and scenography. The explanation of Ferdinand de Saussure’s semiotics is supported by examples form Luigi Pirandello’s Six Characters in Search of an Author. The presentation also covers the work of Ionesco and Tom Stoppard when discussing the Theatre of the Absurd (a term coined by Martin Esslin).