Advertisement

Plays of the Two Major Ministries: “Let Them See We Are Happy!”

  • Anthony P. Pennino
Chapter
Part of the Palgrave Studies in Theatre and Performance History book series (PSTPH)

Abstract

This chapter investigates the oppositional history plays of the two ministries of John Major. As Major’s Government was a transitional one between Thatcher’s and Tony Blair’s, so too were the history plays of this period transitional and therefore did not offer the full-throated defiance of their predecessors. Pennino examines two plays by Tom Stoppard— Arcadia and Indian Ink —and argues that though they were not products of the heritage culture they were not politically revolutionary either. He further discusses the contemporary resonance of Alan Bennett’s The Madness of George III . The chapter also includes Julian Mitchell’s Falling Over England and Stephen Jeffreys’s The Libertine .

References

  1. BBC Archive. 1999. Bennett Snubs Oxford Over Murdoch Chair. 15 January. http://news.bbc.co.uk/2/hi/uk_news/education/255738.stm. Accessed 21 February 2018.
  2. Bennett, Alan. 1989. An Englishman Abroad. In Single Spies. London: Faber & Faber.Google Scholar
  3. Bennett, Alan. 1992. The Madness of George III. London: Faber & Faber.CrossRefGoogle Scholar
  4. Bennett, Alan. 1994. The Madness of King George. London: Faber & Faber.Google Scholar
  5. Bennett, Alan. 2004. The History Boys. London: Faber & Faber.CrossRefGoogle Scholar
  6. Bennett, Alan. 2014. Keeping on Keeping on. New York: Farrar, Straus, and Giroux.Google Scholar
  7. Bhatia, Nandi. 2009. Reinventing India Through ‘A Quite Witty Pastiche’: Reading Tom Stoppard’s ‘Indian Ink’. Modern Drama 52 (2): 220–237.Google Scholar
  8. Billington, Michael. 2007. State of the Nation: British Theatre Since 1945. London: Faber & Faber.Google Scholar
  9. Brecht, Bertolt. 1980. The Life of Galileo, trans. Howard Brenton. London: Methuen.Google Scholar
  10. Cave, Richard Allen. 1989. New British Drama in Performance on the London Stage: 1970–1985. Gerrards Cross: Colin Smythe.Google Scholar
  11. Clum, John M. 1989. A Culture That Isn’t Just Sexual: Dramatizing Gay Male History. Theatre Journal 41 (2) (May): 169–189.Google Scholar
  12. Demastes, William W. 2011. Portrait of an Artist as Proto-Chaotician: Tom Stoppard Working His Way to Arcadia. Narrative 19 (2): 229–240.CrossRefGoogle Scholar
  13. Edgar, David. 1999. State of Play: Playwrights on Playwriting. London: Faber & Faber.Google Scholar
  14. Eyre, Richard. 2003. National Service: Diary of a Decade at the National Theatre. London: Bloomsbury.Google Scholar
  15. Hawking, Stephen W. 1988. A Brief History of Time. London: Bantam Press.Google Scholar
  16. Janowitz, Anne. 1998. Lyric and Labour in the Romantic Tradition. Cambridge: Cambridge University Press.Google Scholar
  17. Jeffreys, Stephen. 1994. The Libertine. London: Nick Hern Books.Google Scholar
  18. Kelly, Katherine E. 2001. The Cambridge Companion to Tom Stoppard. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  19. Kettle, Martin. 2004. Pollsters Taxed. The Guardian, April 4.Google Scholar
  20. Little, Ruth, and Emily McLaughlin. 2007. The Royal Court Theatre: Inside Out. London: Oberon.Google Scholar
  21. Lynch, Martin. 1996. Pictures of Tomorrow. In Three Plays. Belfast: Lagan Press.Google Scholar
  22. Melbourne, Lucy. 1998. ‘Plotting the Apple of Knowledge’: Tom Stoppard’s Arcadia as Iterated Theatrical Algorithm. Modern Drama 41 (4): 557–572.CrossRefGoogle Scholar
  23. Mitchell, Julian. 1982. Another Country. London: Samuel French Inc.Google Scholar
  24. Mitchell, Julian. 1994. Falling Over England. London: Amber Lane Press.Google Scholar
  25. O’Mealy, Joseph H. 1999. Royal Family Values: The Americanization of Alan Bennett’s the Madness of George III. Literature Film Quarterly 27 (2): 90–96.Google Scholar
  26. O’Mealy, Joseph H. 2014. Late Style in Alan Bennett’s Novellas and Stories. Review of Contemporary Fiction 34 (1): 125–140.Google Scholar
  27. O’Toole, Fintan. 2018. Backing Into the Spotlight. The New York Review of Books LXV (1) (18 January): 50–52.Google Scholar
  28. Russell, Richard Rankin. 2004. It Will Make Us Friends: Cultural Reconciliation in Tom Stoppard’s Indian Ink. Journal of Modern Literature 27 (3): 1–18.Google Scholar
  29. Said, Edward. 1993. Culture and Imperialism. New York: Vintage.Google Scholar
  30. Saunders, Graham. 2015. British Theatre Companies: 1980–1994. London: Bloomsbury.CrossRefGoogle Scholar
  31. Schiff, Stephen. 1993. The Poet of Embarrassment. The New Yorker. September 6: 92–101.Google Scholar
  32. Shepherd-Barr, Kirsten. 2006. Science on Stage: From Doctor Faustus to Copenhagen. Princeton: Princeton University Press.Google Scholar
  33. Sierz, Aleks. 2012. Modern British Playwriting: The 1990s. London: Methuen.CrossRefGoogle Scholar
  34. Stoppard, Tom. 1993. Arcadia. London: Faber & Faber.CrossRefGoogle Scholar
  35. Stoppard, Tom. 1995. Indian Ink. London: Faber & Faber.CrossRefGoogle Scholar
  36. Vittes, Laurence. 2008. Empty. The Hollywood Reporter, 9 November.Google Scholar
  37. Williams, Raymond. 1976. Keywords: A Vocabulary of Culture and Society. Oxford: Oxford University Press.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.Stevens Institute of TechnologyHobokenUSA

Personalised recommendations