This Is England 2021: Staging England and Englishness in Contemporary Theatre

IF 0.4 0 THEATER
G. Edwards
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引用次数: 1

Abstract

Abstract This article explores the ways in which contemporary theatre is engaging with English national questions. In the context of the current devolutionary movements in Britain, I apply a national specificity, focusing on plays and performances which address the politics of just one of the three nations within Britain: England. While this study of the specifics of England and Englishness is already well-established in literary studies (Gardiner) and political science (Kenny; Nairn), there is yet to be a sustained critical engagement with England in theatre studies. Following a discussion of Jez Butterworth’s Jerusalem (2009) in light of its planned West End revival in 2022, I then turn to two recent theatrical representations of England in Mike Bartlett’s Albion (2017 and 2020) and the Young Vic’s My England shorts (2019), which I propose offer more rigorous, reflexive explorations into English national identity. As questions over England’s cultural and political representation become increasingly loaded and difficult to navigate, I suggest that the beginnings of this English national register in the theatre marks an attempt to nuance these debates, opening a productive space for critical inquiry.
《这就是英格兰2021》:在当代戏剧中上演英格兰与英国
摘要本文探讨了当代戏剧处理英国民族问题的方式。在当前英国权力下放运动的背景下,我运用了一种国家特色,专注于戏剧和表演,这些戏剧和表演只涉及英国三个国家之一的政治:英格兰。虽然这项关于英国和英国特色的研究已经在文学研究(加德纳)和政治学(肯尼;奈恩)中得到了证实,但在戏剧研究中,英国还没有持续的批判性参与。根据杰兹·巴特沃斯(Jez Butterworth)的《耶路撒冷》(Jerusalem)计划于2022年在伦敦西区复兴,我对其进行了讨论,然后转向最近在迈克·巴特利特(Mike Bartlett)的《阿尔比恩》(Albion)(2017年和2020年)和年轻维克(Young Vic)的“我的英格兰”(My England)短片(2019年)中对英国的两次戏剧再现,我建议这两部短片对英国的民族身份进行更严格、反射性的探索。随着有关英国文化和政治代表性的问题变得越来越重,越来越难以驾驭,我认为,这一英国国家登记册在剧院的开始标志着一种对这些辩论进行细致入微的尝试,为批判性调查打开了一个富有成效的空间。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.80
自引率
40.00%
发文量
20
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