Abstract
Just as Arden and D’Arcy identify and realise the potential of setting political plays in non-contemporary historical periods, other dramatists have fruitfully exploited conventional reactions to foreign political regimes, sometimes to make an oblique comment on matters ‘closer to home’, or alternatively to throw into relief a general inadequacy of political response to anything other than the immediate.
I conclude there is an obligation, a human responsibility, to fight against the State correctness. Unfortunately that is not a safe conclusion.
Professional Foul 1
How tiresome it must be to live in a country where human rights are so respected that you must look elsewhere to justify an otherwise futile sense of outrage.
Cousin Vladimir 2
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Notes
Tom Stoppard, Every Good Boy Deserves Favour and Professional Foul (1978) p. 55.
David Mercer, Cousin Vladimir (1978) p. 59.
Trevor Griffiths, Occupations (1972, 1980) p. 9.
Arnold Wesker, Fears of Fragmentation (1970) p. 100.
Trevor Griffiths, The Party (1974) pp. 9, 10.
Edward Braun, ‘Trevor Griffiths’ in British Television Drama, ed. George W. Brandt (Cambridge, 1981) p. 59.
Jonathon Croall, ‘From House to House’, The Times Educational Supplement, 25 June 1976, p. 19.
C. P. Taylor, Good (1982) p. 9.
Christopher Hampton, Savages (1974) p. 30.
John Russell Taylor, The Second Wave (1971) p. 42.
David Mercer, The Monster of Karlovy Vary (1979) p. 9.
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© 1986 David Ian Rabey
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Weiss, P. et al. (1986). Home Truths and Foreign Freedoms. In: British and Irish Political Drama in the Twentieth Century. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-21106-7_8
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DOI: https://doi.org/10.1007/978-1-349-21106-7_8
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