By Clive Oxenden, Christina Latham-Koenig, Paul Seligson
Lecturers booklet choked with additional principles and over 60 actions in line with point presents academics with extra help.
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Extra resources for American English File Level 2 Teacher's Book
It follows that the plays under discussion in this chapter were written for a theatre that was both self-consciously experimental and national. This is reflected in the composition of the dramatic texts. Harlequin’s Positions baffled critics and delighted audiences when it was first produced. The enthusiastic reception it received from audiences earned it a second week’s run, but for the newspaper critics it remained a riddle. The reviewer for the Irish Independent wrote ‘It is not good drama by any standard of criticism with which I am familiar’(Irish Independent 6 June 1939: 10).
In the 1940s and 1950s a sustained campaign against the Censorship Act was launched. The lead agitator in this campaign was Sean O’Faolain, who continually addressed the problem of censorship in the pages of The Bell, the journal he established in 28 Experimental Irish Theatre 1941. O’ Faolain’s crusade gave confidence to artists and writers to challenge the authorities on this issue. His example spawned many other similar journals dedicated to cultural life such as John Ryan’s Envoy, Patrick and Peter Kavanagh’s Kavanagh’s Weekly and Sean Doran’s Commentary.
Lehmann equates mimesis with action writing: ‘If one thinks of theatre as drama and imitation, then action presents itself automatically as the actual object and kernel of imitation’(Lehmann 2006: 36). It follows then that the postdramatic theatre is a movement away from narrative and what David Barnett calls the ‘business of representation’ (Barnett 2006: 376). It is instead a theatre that exists in the ‘here and now’ of the performance and that asks its spectators to create their own meaning from what is presented.
American English File Level 2 Teacher's Book by Clive Oxenden, Christina Latham-Koenig, Paul Seligson