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Last Year in Jerusalem: Politics and Performance after 1968
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Abstract
Today, it is hard to see how a vital theatre and a necessary one can be other than out of tune with society—not seeking to celebrate the accepted values, but to challenge them. (Brook, The Empty Space (1968), p. 150) For about fifteen years after 1968, this challenge was extended throughout English theatre by a generation of writers including Edward Bond, David Hare, Howard Brenton, David Edgar, Howard Barker, John McGrath, and Trevor Griffiths. Most of them were strongly influenced by the emergence of the counter-culture in the late 1960s, by the new theatrical possibilities it encouraged, and above all by the ‘great watershed’, as Howard Brenton called it, of the near-revolution in Paris in the summer of 1968 (Trussler (ed.), p. 96).
Title: Last Year in Jerusalem: Politics and Performance after 1968
Description:
Abstract
Today, it is hard to see how a vital theatre and a necessary one can be other than out of tune with society—not seeking to celebrate the accepted values, but to challenge them.
(Brook, The Empty Space (1968), p.
150) For about fifteen years after 1968, this challenge was extended throughout English theatre by a generation of writers including Edward Bond, David Hare, Howard Brenton, David Edgar, Howard Barker, John McGrath, and Trevor Griffiths.
Most of them were strongly influenced by the emergence of the counter-culture in the late 1960s, by the new theatrical possibilities it encouraged, and above all by the ‘great watershed’, as Howard Brenton called it, of the near-revolution in Paris in the summer of 1968 (Trussler (ed.
), p.
96).
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