British Drama

Margaret Thatcher's alleged remarks, possibly made on multiple occasions and perhaps subtly, initially appear shocking. However, they can be understood in the context of significant shifts during the era of radical Thatcherism. This paper examines the influence of neoliberal policies implemented under Mrs. Thatcher on Caryl Churchill's play "Top Girls." In Churchill's work, women are not merely portrayed as victims within a patriarchal society, but as resilient individuals who confront and overcome challenges. Churchill crafted her plays during Margaret Thatcher's tenure as Prime Minister of England, depicting the struggles and conflicts faced by women in the late seventies and eighties under the leadership of the "Iron Lady." Her works delve into gender-related issues, as well as complexities within family dynamics, gender stereotypes, and class conflicts.

Howard Brenton's fantasy play, Thirteenth Night, is the movement of Shakespeare's Macbeth in a not so distant future left wing totalitarian Britain for a Socialist government. It is generally considered as a feedback of tiptoeing oppression and constriction of socialism. In the opening part, Jack Beaty, the communist visionary, is hit over the head and dreams of another world in which he himself can guide individuals to rebel against degenerate types of government and reliance on American cash through his communist talks. His socialist utopia quickly degenerates into a Stalinist dictatorship. His dictatorship is unbearable, yet this last discourse demands that the gathering of people considers what reasonable options there are if socialism is really to grab hold and make due in Britain. As his dream turns to nightmare, Beaty slides into further murder and eventual madness before himself being killed in a second coup d’etat.

Yeni Yazin, Yuze Vurumcu Tiyatro, yukselen erkeklik, grunge, cilgin sahne ve hip-hop doksanlarda muzik, edebiyat ve drama dunyasina hâkim oldu. Doksanlar yalnizca siyasi dunyada ve televizyonlarda degil, ayni zamanda tiyatro sahnelerinde de cinsel konulara ulasilabilecegini gosterdi. Eserleri elestirel anlamda Yuze Vurumcu Tiyatro olarak tanimlanan tiyatro ile iliskilendirilen Anthony Neilson, Sansurcu isimli oyununu 1997’de sahneye koydu. Sansurcu, oyun yazari ve yonetmen Anthony Neilson’un ilk deneyimsel oyunu degildir; ancak, kotu unlu pornografik sahnesi ile cinsel travma, sevgi, kayip ve olum konularina odakli temasi sayesinde en sansasyonel ve tabulari yikan eseridir. Anthony Neilson’un dramaturgisi ve Postmodernizm arasindaki iliskiye odaklanan calismalarin sinirli oldugu bir gercektir. Bu nedenle, bu calisma, Neilson'un Sansurcu’sunu, Zygmunt Bauman’in gorusleri araciligiyla postmodern durumu analiz etmeyi ongoren, Neilson'un calismasindaki postmodern unsurlari ve oy...

Dünya edebiyatının önde gelen tragedya örneklerinden biri olan Shakespeare’in Macbeth adlı oyunu, olay örgüsü kadar karakterlerinin kurgulanış şekliyle de ön plana çıkar. Bu çalışmada Macbeth’in ana kahramanları olan Kral Duncan, Macbeth ve Lady Macbeth’in kurgulanmasında yararlanıldığı düşünülen ana kaynaklar üzerinde durulmaktadır. Oyunun yazıldığı dönemde toplumsal hayatta çok önemli bir yere sahip olan İncil’deki Âdem ile Havva ve Ahav ile İzebel karakterlerinin ve hikâyelerinin Kral Duncan, Macbeth ve Lady Macbeth karakterlerinin kurgulanmasında etkileri incelenir. Shakespeare’in içinde yaşadığı dönemin ve toplumun genel özelliklerinden büyük oranda etkilendiği ve İncil’deki hikâyeleri iyi bildiği ve eserlerinde kullandığı öngörüsü çalışmanın ana dayanağını oluşturmaktadır. Buna dayanarak, Macbeth’in olay örgüsünün temel kaynağı kabul edilen Holinshed Chronicles’da var olan karakterler ile oyunda karşımıza çıkan karakterlerin özellikleri arasındaki benzerlik ve farklılıklar ort...

Niccolo Machiavelli özellikle 16. Yüzyılın başlarında yazmış olduğu The Prince (Hükümdar) (1513) ve The Discourses (Söylevler) (1528) adlı eserleri ile iyi bir hükümdarın özellikleri hakkındaki görüşleri hem de siyaset anlayışı ile günümüz siyasetindeki etkileri halen tartışılmakta olan bir yazardır. Bu çalışmamızda Machiavelli'nin siyaset anlayışının Snogging Ken adlı eser özelinde karşımıza çıkan siyaset ve siyasetçileri ne şekilde etkilemiş olabileceği tartışılacaktır. Tariq Ali, Howard Brenton ve Andy de la Tour tarafından 2000 yılında yazılan Snogging Ken, aynı yıl yapılan Londra Belediye Başkanlığı seçimleri öncesindeki siyasi ortamı ele alır. İşçi Partisinden aday yapılmadığı için seçimlere bağımsız aday olarak girme kararı alan Ken Livingstone'un seçimlerde başarılı olmaması için Tony Blair ve ekibi tarafından uygulanan ahlaki sınırları olmayan yöntemlerin Machiavelli'den ne kadar etkilenmiş olabileceği üzerinde durulacaktır. Ayrıca dönemin maliye bakanı olmasına rağmen neden Gordon Brown'ın Livingstone'un başarısı olmasını istediği üzerinden durulacaktır. Sonuç olarak, İşçi Partisi'nin mevcut lideri Blair ve gelecekteki lideri Gordon Brown'ın Machiavelli'nin iyi lider tanımına ne kadar uydukları ve siyasette kullanılmasını önerdiği yöntemlere ne derece başvurdukları incelenecektir.

Dünya edebiyatının önde gelen tragedya örneklerinden biri olan Shakespeare’in Macbeth adlı oyunu, olay örgüsü kadar karakterlerinin kurgulanış şekliyle de ön plana çıkar. Bu çalışmada Macbeth’in ana kahramanları olan Kral Duncan, Macbeth ve Lady Macbeth’in kurgulanmasında yararlanıldığı düşünülen ana kaynaklar üzerinde durulmaktadır. Oyunun yazıldığı dönemde toplumsal hayatta çok önemli bir yere sahip olan İncil’deki Âdem ile Havva ve Ahav ile İzebel karakterlerinin ve hikâyelerinin Kral Duncan, Macbeth ve Lady Macbeth karakterlerinin kurgulanmasında etkileri incelenir. Shakespeare’in içinde yaşadığı dönemin ve toplumun genel özelliklerinden büyük oranda etkilendiği ve İncil’deki hikâyeleri iyi bildiği ve eserlerinde kullandığı öngörüsü çalışmanın ana dayanağını oluşturmaktadır. Buna dayanarak, Macbeth’in olay örgüsünün temel kaynağı kabul edilen Holinshed Chronicles’da var olan karakterler ile oyunda karşımıza çıkan karakterlerin özellikleri arasındaki benzerlik ve farklılıklar ort...

Modern wars are experiencing a period of serious transformation. The dominance of “hard power” inherent in classical wars has come to an end. This is due to the increased influence of non-military threats on global security. In this case, the increasing role of information, economic, demographic, cultural, political, financial and other factors, along with military power, allows states to use a wider set of tools in solving their problems. As a result, the role of military methods as the main means of solving problems in interstate relations is limited, and states have to use additional resources and war fronts. New forms of struggle are characterized as “hybrid war” and “soft power”. The article widely uses general logical cognitive methods: synthesis, analysis, induction and deduction.

Aims: The paper aims to disentangle the complex ways in which Ramanujan addresses the various levels of caste dynamics through close examination of his poetry, offering perceptive analysis of India's socio-cultural environment. In the framework of Indian society, Ramanujan wields his power of imagination to investigate the complexities of Indian society and navigate the intricate threads of caste, customs, identity, and socio-cultural dynamics. Methodology and Approaches: The study adopts a meticulous blend of close textual analysis and a contextual evaluation of A.K. Ramanujan's poetic works. Through meticulous scrutiny of key poems such as "The Striders," "Relations," and "The Black Hen," this research takes a hermeneutic method to analyze the linguistic nuances, symbolism, and imagery employed by Ramanujan. Outcome: The research aims to contribute to the existing body of knowledge on A.K. Ramanujan's poetry by providing an in-depth exploration of his engagement with caste, identity, and social commentary. By unveiling the subtleties of his language, symbolism, and evolving perspectives, this study seeks to illuminate the enduring relevance of Ramanujan's work in fostering dialogue and critical reflection on societal structures. Conclusion and Suggestions: Finally, the findings of this study not only provide insights into Ramanujan's poetic skill, but also highlight the larger socio-cultural ramifications of his work. The study suggests avenues for further research into the contemporary resonance of Ramanujan's perspectives on caste and identity. It also invites more investigation into how literature, particularly poetry, serves as a potent device for socio-cultural commentary and contemplation.

Bu çalışma, İngiliz oyun yazarı Howard Brenton’ın politik tiyatro anlayışını The Romans in Britain (1980) oyunu üzerinden incelemektedir. Brenton, emperyalizm, iktidar şiddeti ve sömürgecilik gibi temaları çarpıcı bir üslupla sahneye taşıyarak, tiyatroyu politik eleştiri ve toplumsal dönüşüm aracı olarak kullanır. The Romans in Britain, Roma’nın Britanya’yı işgali metaforunu kullanarak, çağdaş İngiliz siyasetindeki sorunlara, özellikle Kuzey İrlanda ve Falkland Savaşı’na göndermelerde bulunur.
Oyun, sahnelendiği dönemde büyük sansür tartışmalarına yol açmış ve tiyatro-sansür ilişkisini kamuoyu gündemine taşımıştır. Bu makalede, Brenton’ın oyun yazar kimliği, The Romans in Britain oyununun tematik çözümlemesi ve sahnelemesine yönelik sansür girişimleri detaylı biçimde ele alınmıştır.
Çalışmanın amacı, politik tiyatronun estetik olduğu kadar etik ve ideolojik bir mücadele alanı olduğunu ortaya
koymaktır.
Anahtar Kelimeler: Howard Brenton, Politik Tiyatro, Romans in Britain, Sömürgecilik, Şiddet

Calisma, Shaw’in Silahlar ve Adamlar adli oyunundaki duzmece vatanseverligi ve karakterlerin aptalca davranislarini ele almaktadir.  Onur, idealizm, kahramanlik, sosyal adalet, cinsiyet esitligi, ikiyuzluluk ve sosyal hayatla ilgili daha bircok konu ve degerler Shaw’in oyunlarinin ana temasini olusturmaktadir. Silahlar ve Adamlar oyunu da benzer konulari deginmektedir. Evliligin romantizmi ve vatanseverligi olusturan degisik unsurlar ele alinmistir. Savasin korkunclugu, sevgi, umut, inanc,  insanlarin yanlis ve sahte idealizmini degistirmek icin Shaw’in cabasi ve elestirisi verilmistir.  Bu oyunda savas, Balkanlarla sinirli olmasina ragmen, Shaw, savasi yikim, kan dokme ve yoksulluk olarak gordugu icin acimasizca elestirmektedir. Shaw’in toplumsal ve ahlaki sorunlara karsi duyarliligi, toplumdaki basmakalip davranisi ve sahte idealizmi ve duzmece vatanseverligi degistirme arzusu da ele alinmistir.

This research examines how the intense experiences of war shape the bonds between soldiers and their sense of self, as portrayed in Gregory Burke's Black Watch. By thoroughly analysing the play, this study
explores how shared experiences, adversity, and the allure of collective belonging shape soldiers’
identities. This study investigates how military identity develops, focusing on the impact of historical, traditional, and shared cultural elements. Moreover, it investigates the dynamic conflict concerning individual and collective identities, highlighting the pressures to conform while preserving individuality.
Drawing on social identity theory, the essay explores how broader social constructs intersect with
military experiences, shaping soldiers’ perceptions and behaviours. Ultimately, this study aims to
enhance the comprehension of the psychological and social intricacies experienced by service members, illuminating the lasting effects of war on both individuals and society.
Keywords:  Camaraderie, identity, Black Watch, Gregory Burke, war

New writing, In-Yer-Face theatre, rising masculinity, grunge, the rave scene, and hip- hop dominated the world of music, literature, and drama in the nineties. In 1990s sexuality became a prominent subject matter not only in the political world and on television, but also on the theater stage. Anthony Neilson whose works are associated in criticism with the phenomenon variously described as In-Yer-Face theatre put The Censor on the stage in England in 1997. The Censor is not the playwright and director Anthony Neilson’s first experiential play; however, it was his most sensational and taboo-breaking one thanks to its infamous pornographic scene and a theme around sexual trauma, affection, loss, and death. It is a fact that there is a limitation of studies that focus on the relationship between Anthony Neilson’s dramaturgy and postmodernism. Therefore, this work aims to explore Neilson's Censor from a new perspective that will enable the postmodern elements and features of Neilson's work to be viewed from a moral point of view, which envisages analysing the postmodern situation through Zygmunt Bauman's views. To do this, firstly, this work limits its analysis to the discovery of the playwright’s In-Yer-Face theatre via The Censor. Secondly, after presenting the Polish sociologist Zygmunt Bauman’s views over morality, it analyses morality behind the notion of fluid in The Censor through the focus on ordinary postmodern man and his/her moral and ethical condition by following the postmodernist zeitgeist around Zygmunt Bauman’s moral sociology.

Dünya edebiyatının önde gelen tragedya örneklerinden biri olan Shakespeare’in Macbeth adlı oyunu, olay örgüsü kadar karakterlerinin kurgulanış şekliyle de ön plana çıkar. Bu çalışmada Macbeth’in ana kahramanları olan Kral Duncan, Macbeth ve Lady Macbeth’in kurgulanmasında yararlanıldığı düşünülen ana kaynaklar üzerinde durulacaktır. Oyunun yazıldığı dönemde toplumsal hayatta çok önemli bir yere sahip olan İncil’deki Âdem ile Havva ve Ahav ile İzebel karakterlerinin ve hikâyelerinin Kral Duncan, Macbeth ve Lady Macbeth karakterlerinin kurgulanmasında etkileri incelenecektir. Shakespeare’in içinde yaşadığı dönemin ve toplumun genel özelliklerinden büyük oranda etkilendiği ve İncil’deki hikâyeleri iyi bildiği ve eserlerinde kullandığı öngörüsü çalışmanın ana dayanağını oluşturmaktadır. Buna dayanarak, Macbeth’in olay örgüsünün temel kaynağı kabul edilen Holinshed Chronicles’da var olan karakterler ile oyunda karşımıza çıkan karakterlerin özellikleri arasındaki benzerlik ve farklılıklar ortaya konulacaktır. Bu farklılıkların ortaya çıkışında İncil’de karşımıza çıkan karakterlerin rolü üzerinde durulacaktır. Bu benzerlik ve farklılıkların Shakespeare tarafından hangi amaçla ön plana çıkarıldığı ve bunun İncil’le var olan ilişkisi değerlendirilecek ve çalışmanın sonuncunda ulaşılan veriler ortaya konulacaktır.
Anahtar Kelimeler: Macbeth, Lady Macbeth, Kral Duncan, İncil, Âdem ve Havva, Ahav ve İzebel

In the second half of the 20th century, a relatively small group of influential Paris-based intellectuals led by Guy Debord whose origin had an avant-garde artistic tradition started a new revolt against the established vision of reality in the world: they were called Situationists (1957–1972). All through the 1950s and 1960s, the situationists claimed that the alienation of the people to both themselves and the society, accompanied by the alienation of labour in the 19th century, was due to production, but in the 20th century, it changed form and became rooted in consumption. To them, consumption is the force to define happiness and to conceal all
other opportunities for freedom and selfhood. The concepts behind ‘culture’ were as much dangerous as those behind the industry. Guy Debord has named this new dominant social order, where all realities have turned into abstract images, ‘the Society of Spectacle’. Martin Crimp deals with the similar problems in his plays and focuses on the influence of addiction to consumerism on human beings and thus we will examine in this study if Crimp’s No one Sees the Video can be reread under the light of Debord’s book The Society of Spectacle and the concepts he offered in this book such as recuperation and ‘détournement’, and ‘Spectacle.
Keywords: No one Sees the Video, Guy Debord, Martin Crimp, Spectacle, Détournement

The historians and many other scholars often define ‘Social
Memory’ as the type of memory exploring the association between social
identity and historical memory. It questions how and why diverse people
regard themselves as members of a group with a common past. It can
also be one of the leading reasons of the present actions of the people as
reflected in Kitty Felde’s award winning play A Patch of Earth. In this
play, Felde gives the impression that the main motive lying behind the
Srebrenica Massacre of 1995 can be the social memory of the Serbs,
which regards all the Muslims living in Bosnia as the Turks, because this
massacre is regarded by at least some of the Serbs, as reflected by
Serbian leader Slobodan Milosevic, in his famous speech to 1 million
people at the celebration marking the 600th anniversary of the Battle of
Kosovo.

Oyun Hristiyanlığın en büyük mitosu olan İsa'nın göğe
yükselmesi olayını yeni bir bakış açısı ile ele alır. Günümüzdeki
mevcut Hristiyan inancının temelini oluşturan İsa’nın çarmıha gerilişi
ve yeniden hayata dönmesi mitosunu sorgular. Her ne kadar genelde
Hristiyanlar, dinlerinin İsa’nın öğretisine dayandığını kabul etseler de
çeşitli araştırmacılar, mevcut dinin, İsa’ tarafından halka aktarılan din
ya da İsa’nın öğretilerini temel alan bir din olmadığını vurgularlar.
Günümüz Hristiyan inancının temelini İsa’nın Tanrı’nın oğlu olduğu
görüşü oluşturur. İsa insanlığın kurtuluşu için çarmıha gerilerek göğe
yükselmiş ve üçüncü gün dünyaya geri gelerek Şam yolunda,
sonradan Aziz Paul olarak anılmaya başlanacak olan Saul’a
görünerek, onu öğretisini tüm insanlığa yaymak için elçi olarak
görevlendirmiştir. Howard Brenton Paul ile birlikte işte bu
karşılaşmanın temelini oluşturduğu Hristiyan inancını
sorgulamaktadır.

Since the second half of the twentieth century, writers and scientists in different fields have a great interest in the
subject of Black Humor, which is used as a tool to survive. As we have seen in our study, Black Humor is seen as a
means both to forget and to cause the others to forget the troubles following great disasters or wars. One of these
writers, Howard Barker, in his play The Castle (1985), addresses the state of mankind through Black Humor and
criticizes contemporary society with a story in Medieval Europe. The rigid hierarchies of the societies, the terrible
massacres of wars, the loss of the united identity, or the shocking effects of modern society are seen ridiculed,
acknowledging on the one hand the state of humanity as bleak and confirming the uniqueness of the individual on the
other. We encounter one of the most beautiful examples of black humor when a landowner who returns to his home
after taking part in a holy war to save to Jerusalem, the holy city of Christianity and Judaism, to see that his land was
occupied by a new system of thinking and a new sense of life. The only thing that the reader and the audience can do
in this situation is to laugh, because the only defense mechanism against the existing pains is the Black Humor.
Keywords: Black

Howard Brenton's fantasy play, Thirteenth Night, is the movement of Shakespeare's Macbeth in a not so distant future left wing totalitarian Britain for a Socialist government. It is generally considered as a feedback of tiptoeing oppression and constriction of socialism. In the opening part, Jack Beaty, the communist visionary, is hit over the head and dreams of another world in which he himself can guide individuals to rebel against degenerate types of government and reliance on American cash through his communist talks. His socialist utopia quickly degenerates into a Stalinist dictatorship. His dictatorship is unbearable, yet this last discourse demands that the gathering of people considers what reasonable options there are if socialism is really to grab hold and make due in Britain. As his dream turns to nightmare, Beaty slides into further murder and eventual madness before himself being killed in a second coup d'etat.

Terror termini terror və qorxu ifadə etdiyi halda, terrorizm bu anlayışa siyasi məzmun və davamlılıq əlavə edir. Bu kontekstdə terrorizm "müharibə və diplomatiya yolu ilə əldə edilə bilməyən nəticələrə nail olmaq, insanları qorxutmaq və itaət etməyə məcbur etmək üçün bir nəzəriyyə, fəlsəfə və ideologiyaya əsaslanan terror və zorakılığın siyasi məqsədlər üçün sistemli və hesablanmış şəkildə istifadəsidir". Başqa bir resept: Biz həmçinin hər cür mütəşəkkil və tənzimlənməmiş zorakı hərəkəti terrorizm kimi təyin edə bilərik. Terrorun əsası qorxudur, zorakılıq, hədə-qorxu, terror və hədələr var. Terror aktlarının ortaq cəhəti ondan ibarətdir ki, onlar məqsədyönlü şəkildə və məqsədyönlü şəkildə hədəfdə olan ölkənin iqtisadi, sosial, siyasi və konstitusiya quruluşunu sarsıtmaq və ya məhv etmək məqsədilə həyata keçirilir. Təəssüf ki, bu gün terrorizmin bütün dünya ölkələri tərəfindən qəbul edilən tərifi verilməyib. Məqalədə terror anlayışına,terrorun yaranma tarixi və terrorun növləri haqqında məlumat yer alacaqdır.

Elizabeth Goudge’s novel The Middle Window seems to be the least liked of all of her novels. The fact that it was her second published novel leads some readers to think that Goudge was still learning her craft, and the book is clumsy. Similarly, the fact that it was initially written as a play, and briefly staged, and then rewritten as a novel, leads some people to see the resulting novel as flawed in some way by its origin as a drama told through dialogue. Other critics (online reviewers, enthusiastic readers, many of whom are enthusiastic about other novels by Goudge) find flaws (sentimentality); unattractive characters (a selfish headstrong modern woman indulged by her wealthy parents); boring history (although some readers enjoy historical novels, and others unfamiliar with the era find the Bonnie Prince Charlie subplot eye-opening); predictable plot developments (Goudge is not a writer of suspense); clumsy structuring of a single novel with two major subplots (the subplots are distinct, but surely not clumsily so); and implausible ideas of reincarnation (in fact, that is one explanation of the emotional connection between characters and circumstances). Some critics confirm their negative reactions by fastening on a belief that Goudge herself liked The Middle Window the least of all her books. Personal taste, or distaste, is unavoidable in analysing books. This article examines The Middle Window, as objectively as possible, in detail, finding direct connections with some of Goudge’s other novels, and identifying common themes in most of Goudge’s writing. The article argues that The Middle Window is as strong as any of her other, usually admired, novels. It is consistent with them in focus, structure and theme. It is a novel that asks the profound existential questions: how should a person live? And, what gives life purpose? And it is often funny, and yet also tragic. Also, it is arguably Goudge’s only actual Romance novel, albeit “romance” with a very unusual twist.

This book explores the visceral and transformative power of violence in four of Sarah Kane’s most influential plays, offering a fresh phenomenological lens through which to understand her theatrical innovations. Drawing on the philosophy of Maurice Merleau-Ponty, it examines how Kane’s works immerse audiences in the raw, embodied experiences of trauma, desire, and existential despair. Through detailed analysis of Blasted, Cleansed, Phaedra’s Love, and 4.48 Psychosis, the book illuminates Kane’s unique ability to confront societal taboos and provoke emotional and intellectual reflection.

Targeted toward scholars, students, and practitioners of theatre and literary studies, this book bridges contemporary drama and existential philosophy, presenting a compelling case for Kane’s enduring relevance in discussions of human suffering and resilience. With its global perspective on Kane’s impact and accessible yet rigorous approach, this book serves as an essential resource for understanding one of the most provocative voices in modern theatre.

In A Midsummer Night's Dream (1600), one of the earliest and most popular romantic comedies by the English playwright William Shakespeare, Helena, the lovesick young woman infatuated with Demetrius, presents the power of love, by saying "Love can transpose to form and dignity./Love looks not with the eyes, but with the mind,/And therefore is winged Cupid painted blind" (2019, lines 239-241). She suggests that love, which requires a strong sense of intimacy, attachment, devotion, and deep spiritual connection, is an extremely complex experience. This dynamic phenomenon, which has the potential to change and transform human beings, is undoubtedly an individual, emotional, spiritual, and physiological one. As old as the history of humanity itself, this strong feeling has become the subject of literary and artistic works, even giving rise to the development of new genres such as romantic tragedy and romantic comedy. However, changing dynamics of history also bring about significant transformation in the dynamism of love. The experience of the sublime in love between two lovers, as portrayed in the relationship between Romeo and Juliet, "star-crossed lovers" (2012, p.23) in Shakespeare's romantic tragedy Romeo and Juliet (1597), has lost its grandeur and has been reduced to a more physical dimension. Anthony Neilson, one of the towering names of contemporary British theatre, tells the tragic story of a couple, Abby and Stuart, both consumed their love and traumatized by the loss of their child in his play Stitching (2002). In Stitching, Neilson portrays a kind of modern love tragedy or "a desperate tragedy" (Sierz, 2002, p.1196), revealing that "love can sometimes be bestial" (Sierz, 2011, 173). He focuses on the couple's complex love relationship based on passion, sexuality, consensual violence, suffering, and loss, by blurring the boundaries between the past and the present through flashbacks, flashforwards and surreal moments. This paper aims to examine the tragedy of modern love between attachment, satisfaction, sexual coercion and intimate partner violence in Neilson’s Stitching.

This study investigates the unique approach of John Arden and Margaretta D'Arcy in employing historicization in The Non-Stop Connolly Show (1975) to prompt a V-effect (Verfremdungseffekt). Their innovative use of this effect, which represents a cornerstone of Epic Theatre, compels audiences to critically engage with the theatricality of the performance rather than passively absorb its emotional content. The Non-Stop Connolly Show is a six-part dramatic cycle that meticulously recounts the life of the prominent Irish socialist and nationalist leader, James Connolly. It skillfully blends factual historical details with fictionalized elements, using alienation techniques to ensure the accuracy of Connolly's portrayal. By conducting a comprehensive analysis of Connolly's story from various angles, the study presents a chronological overview-from his early years to his execution after the 1916 Easter Rising. It connects historical records with artistic representation, highlighting Connolly's political and social struggles. This exploration fosters an awareness of history as a dynamic process and encourages critical reflections on Connolly's legacy, emphasizing its relevance to the current socio-political issues and thereby engaging the audience in a contemporary context.

Bringing history or myth into the play ‘Top Girls’ (1982) of Caryl Churchill, is neither for detailing history like historical plays nor for dealing with the life of kings and queens of past. ‘Top Girls’ juxtaposes past and present into a single frame, where past characters are reclaiming for changes in the situations which is all dominated by the male and in the same strain present characters do not agree to flinch a bit from their insistence. She presents the suffering, striving, and sacrifice of every ‘top girls’ into the play with very minute details of their emotions and tries her hand in giving their dialogue a single direction when they get together for celebrating Marlene’s success as a modern career-minded woman. And in doing so, her presentation of history and myth in the mould of a contemporary drama embays myriad meanings for the audience. This article chiefly aims at finding the assumed ways that will help in dissolving the borderline between past and present, and measuring relevancy of introducing historical and mythical female figures along with the present characters into a modern contemporary drama.

Caryl Churchill, İngiliz tiyatrosunun önemli figürlerinden biridir. Kariyerine
1950'lerde amatör oyunlarla başlayan Churchill, 1960'larda radyo oyunlarına yönelerek
profesyonel hayatına adım atmıştır. Bu dönemde, orta sınıfın çöküşünü
ve dönüşümünü konu alan oyunlarıyla dikkat çekmiştir.
1970'ler, dünya genelinde feminist hareketin yükselişiyle birlikte Churchill'in
de politik ve toplumsal konulara daha fazla odaklandığı bir dönem olmuştur.
Özellikle kadınların yaşadığı eşitsizlikleri ve toplumsal cinsiyet rollerini ele alan
oyunlarıyla tanınmıştır (Aston & Diamond, 2009). Vinegar Tom, Cloud Nine ve
Top Girls gibi oyunları, bu dönemin en önemli eserleri arasında yer alır.
1980'lerde ise Thatcherizm'in etkisiyle kapitalizm neo-liberalizme evrilirken,
ortaya çıkan ekonomik eşitsizlik ve sınıf farklılıkları gibi konular Churchill'in
oyunlarının merkezine oturmuştur (Alkhafaji, 2021; Adiseshiah, 2009). Serious
Money ve Top Girls gibi oyunlarıyla bu dönemin siyasi ve ekonomik yapısını
sanatsal yaratılar aracılığıyla eleştirmiştir.

Promotional material declared it 'A Play For the Nation', a bold claim at a time when there is clearly no consensus in the nation about what kind of nation the nation should be, or even if it should be one nation at all. Nonetheless, inclusivity was very important to this production: all posters and flyers showed Chu Omambala, the black actor playing Oberon, posed with either the white actress playing Puck (Lucy Ellinson) or the Mumbai-born actress playing Titania (Ayesha Dharker). 1 Hermia was also black, Demetrius Asian, and Mustardseed a dwarf. In addition, at each stage of the national tour, local amateurs played the Mechanicals, with local schoolchildren taking the parts of Titania's fairies. Perhaps this goal of 1 Omambala was 'indisposed' the night I saw the production: Sam Redford, due to play Theseus, played Oberon, and Alex Tomkins, one of the musicians, played the Duke.

This paper will be focused on the supernatural elements in A Midsummer Night's Dream of Shakespeare's drama. The supernatural elements in A Midsummer Night's Dream play an important role in the development of the plot, the characterization of the characters, and the themes of the play.

This paper examines the theme of motherhood as portrayed in Caryl Churchill's plays: Top
Girls(1982) and Fen (1983). By delving into the nuanced exploration of motherhood within these works,
this paper aims to shed light on the complex and multifaceted nature of maternal experiences, while also
analyzing the social, cultural, and political contexts that shape these representations. Through a close
reading of the plays, this paper elucidates the diverse perspectives on motherhood presented by Churchill.
Moreover, this paper situates Churchill's exploration of motherhood within the broader socio-political
landscape of the time. It considers the feminist movements and debates surrounding reproductive rights
and motherhood in the late 20th century, as well as the socio-economic realities that shaped women's
experiences. By contextualizing the plays, this research paper provides a comprehensive understanding of
how Churchill's works engage with the theme of motherhood as a lens to comment on the complexities of
gender, power, and social expectations.

This study pursues a study of radicalism in Hare’s most radical play, Fanshen, and in Foucault’s mode of radicalism within his theory of power relations. From a specific perspective, this study borrows from the new wave of reevaluating and reinterpreting Foucault, which is concerned with irrationalism in his mode of radicalism. This analysis helps us comprehend the changes in the social trends and the specific pattern of radicalism in both Hare and Foucault. What concerns this study gravely, is the absence of the other side of reality or possibility in Hare’s Fanshen and in Foucault’s claims on power relations. The aim of the study is to depict how adopting radicalism and revolution by Hare and Foucault results in the justification of malfunctioned experiments. Furthermore, the way political tendencies are manifested to the audience is proved to be a key factor in the analysis of British political theater and in the shaping of British society. Finally, it is found that a Foucauldian reading of Fanshen results in the recognition of Hare’s specific pattern of radicalism which is in line with Foucault’s.

This study focuses on acclaimed playwright Steven Berkoff's rarely studied play, Kvetch. The study argues that Berkoff demonstrates the uncomfortable inner conflicts of human beings at personal and interpersonal levels in Kvetch. In this context, the article explores the issues of anxiety, fragmentation, and dysfunctional communication, which are reflected through the internal monologues and overlapping speeches of the characters. The characters in the play suffer from anxieties affecting their actions and interactions. This situation causes a dichotomous tension between their inner selves and their social faces. The mental fragmentation of the characters also gives rise to the problem of dysfunctional communication, creating a more chaotic atmosphere in the play. The study further claims that Berkoff functionalizes both form and content to present the characters' inner struggles. In this respect, it is demonstrated in this study that Berkoff's unconventional and non-conformist dramatic approach in Kvetch strengthens the theme of fragmentation structurally as well. By delving into the characters' internal monologues and the complex web of dialogues in the play, the study looks at how Berkoff employs experimental dramatic techniques through which he pushes his audiences to put the puzzle pieces together to be able to understand each character's mind. The study concludes that Berkoff's play displays the mental world of humankind, always in struggle with a pervasive sense of anxiety and fragmentation.

Martin Crimp has been one of the most prominent playwrights on the British stage since
his first appearance. Although his oeuvre consists of absurdist and postdramatic plays, he
translated classic texts such as Cyrano De Bergerac, Rhinoceros, The Seagull and The
Misanthrope. Fewer Emergencies is a short play that forms part of Crimp's triptych, which
also includes Whole Blue Sky and Face to the Wall. In Fewer Emergencies, Crimp creates a
theatrical atmosphere that deconstructs the tenets of conventional dramatic theatre. In
the playlet the characterisation is reminiscent of his earlier thought-provoking Attempts on
Her Life, which had no obvious character attributions. In Fewer Emergencies he makes a
similar kind of characterisation. He simply numbers the characters 1, 2, 3. In this way, Crimp
creates an inspiring theatrical space. The aim of this study is to uncover the postdramatic
theatricality of Crimp's Fewer Emergencies.

Peter Barnes' Red Noses is one of the funniest plays written about the Black Death. It is an amazing mixture of comedy and tragedy, laughter and despair, which reflects Barnes' specialty in making humour out of the darkest of human situations. Barnes' humour is black because of the blackness of the play's topic, which reflects the absurdity and cruelty of life. The play depicts the various responses of the medieval society to this incomprehensible disaster. It is "a three-course meal," rich in entertainment, ideas and attitudes. Humour springs from the gap between the characters' aspirations and the reality of their situations. Here, Barnes uses jokes (good or bad, verbal or visual), puns, gags, irony, satire and slapsticks as sources for his humour. His satirical humour is sometimes more effective than daggers or swords. He uses a joke as an instrument of change. The play is a cry for religious, social and political change. Barnes has papal seats, royal thrones and judicial benches as the target of his scathing satire, which unfolds their hypocrisy and denounces their moral corruption and abuses of authority.

The production was transferred to the Joseph Papp's Theatre in New York in the same year. There the production was so successful that it was on for months, instead of two weeks, which were planned. It also was produced as a film by the BBC for their programme 'Performance' and broadcasted in November 1991. The play is regularly performed around the world and has quickly become part of the canon of women's theatre. Critics : "Top Girls has been praised by some reviewers for its innovative dramaturgy and denounced by others for creating too much confusion for the audience:" "The apparent bubble is difficult to follow. […] It is a bold dramatic device achieving an almost complete disorientation and sense of historical chaos […]." The plot Act 1, Scene 1 The play starts in a restaurant where Marlene has invited five friends to a dinner party. Marlene has recently been promoted at work. The five guests are all women that are either long-dead or are fictional characters from literature or paintings. Her first guests that appear are Isabella Bird and Lady Nijo. Nijo and Isabella discuss their lives, including their family lives. In this scene also Dull Gret and Pope Joan appear. The conversation is about different topics, including religion and the love lives of Nijo and Isabella. Isabella talks about her travel experiences. Joan reports about dressing and living as a male from the age of twelve so that she could receive a good education. Marlene wants to make a toast to her guests but her guests insist on toasting her and her career. Joan tells that while she enjoyed being the pope, she also had a secret affair with a chamberlain and became pregnant. Joan gave birth to a child and was stoned to death. Nijo tells the other women that she has given birth to four children, and only being able to see one of them after birth. During the confusing conversations, Isabella talks about that she never had children. The final guest Griselda arrives and tells her life story. Although she was the daughter of a poor farmer, she was asked to be the wife of a local prince, but only if she obeyed him without question. Griselda agreed, what later meant losing the two children she had with him. Her husband has taken the children from her as infants. Then Griselda was sent back to her father with nothing except a slip to wear. Her husband called her back to help him prepare for his next wedding to a much younger girl. The girl was her daughter. Walter, her husband, wanted to test her loyalty with these actions. At the end he took Griselda back. Marlene is upset by Griselda's story. Nijo is outraged because she saw her children never again after they were taken away from

Shaw’s perhaps most famous comedy is Pygmalion (1912). The immediate social background is the swelling British women’s suffrage movement, which was increasing in strength at this time, culminating, among other things, in the proclamation of International Women’s Day. The main themes of the play are women and class.

Caryl Churchill's "Owners" is a highly successful play, marking her debut in stage drama when it premiered at the Theatre Upstairs of the Royal Court in 1972. The play serves as a satirical exploration of Londoners' social lives, featuring two couples representing diverse social backgrounds. Marion and Clegg are property owners, while Lisa and Alec portray impoverished tenants dependent on Marion and Clegg's actions. Written during the transition between the first and second wave of feminism, the play introduces various female characters from traditional and modern perspectives. Marion, the central character, embodies extreme feminism, breaking away from traditional female norms and adopting a masculine demeanour. In contrast, Lisa, another female character, adheres to the traditional role of a domestic housewife, caring for her husband and children, making her and her newborn baby victims of Marion's schemes. The play also introduces three male characters who defy traditional male gender norms. This article delves into how gender norms have evolved through different waves of feminism, starting with an introduction to the playwright, Caryl Churchill. The focus then shifts to Marion's extreme female masculinity before exploring the unique male identities of the three male characters compared to traditional masculine standards, leading to a concluding section.

The current research study attempts to deal with the theme of love as portrayed in William Shakespeare's tragedy King Lear. However; it is based on the assumption that real love is instinctively universal but hate is temporally personal. The treatment of love by Shakespeare in King Lear has many shades and undercurrents. The present study tries to analyse how the daughters; Goneril, Regan and Cordelia misinterpret and exploit the genuine love of their father towards them. It also provides a scope to fix a barometer for the parental love to their children. This study is social; the data is qualitative and descriptive as well. Therefore, a careful and insightful reading has been done to have clear understanding of the role of real love in reinforcing family relationships. This study has revealed that loss of peace of mind, misery, depravity, illness and homelessness are some the consequences of unreal love, whereas rest, peace of mind, happiness occur only when real love is materialised.

In this paper I will consider the 1950s as a seminal period for the configuration of violence in modern drama and as a crucial moment for the fusion between violence and realism. In post-war drama, we will not see violence portrayed as an extreme action or as unbelievable acts. Violence becomes the natural way to express social and individual tensions, through class conflicts, strong language and war motives. Themes such as the display of physical violence, the failure of the human body, exposing dysfunctional families and war effects, becomes more and more common and attached to everyday life. This was fertile ground for John Osborne, Edward Bond or Arthur Miller, or for the British dramaturgy of the nineties, especially with the so-called in-yer-face theatre.Thus, I will focus on the effects this global discussion had on Portuguese culture and theatre. I will discuss two performances that are both representative of the Portuguese alternative culture of the time and that stage text...

Mrs. Warren's Profession was written in 1893 by the Irish critic and dramatist George Bernard Shaw, who introduced social realism to the British stage. First performed in 1902 in London, the text is a social critique satirizing the stereotypical Victorian norms. Reflecting Shaw's feminist ideals, the play also contributed to the development of the feminist movement. Mrs. Warren's Profession introduces the-New Woman‖ type who rebels against the stereotyped female representations and male-centered conventions of the nineteenth century. The play mainly revolves around a controversial taboo topic, prostitution. Shaw dramatizes this profession through the two untraditional female characters. Kitty Warren is an audacious woman running a brothel to provide her daughter with better life and education standards and Vivie is a highly-educated and independent woman who expostulates her mother for her profession. Mrs. Warren's Profession stresses that it is the social, economic and moral ills of the society that lead women to choose this profession. This paper, from a feminist lens, links these two non-conformist characters to navigate the ways through which the concept of the-New Woman is represented. This paper also investigates how these characters protest against the stereotypical female roles imposed on them to gain an autonomous identity within society. Thus, this study, through these two female characters, reveals how this play dethrones the myth of the-Angel in the House, the ideal Victorian woman, and sheds light on the modern feminism.

Oscar Wilde is known with his experiences, writings and extraordinary life which fitted into his short 46-year life. Oscar Wilde is such a colorful and different personality that some people liken him to a Dionysus in Asia, some to a Roman emperor, and some to a Roman emperor, and some to Apollo .

The Story of socio-political background of British drama in the 18th century is one of confusing growth. At the outbreak of English Civil War , Parliament closed the London's theatre. According to Puritan's political ideology , Theaters were places as a field of immortality and that is why they closed the London’s theatre  . According to
Puritan’s political ideology , Theaters  were places as a field of immortality and that is why they closed the theaters at that time . Charles the  first was executed by Puritans later on the restoration of Charles  the second to the throne in 1660 ,  there was a period of renewed theatrical vitality . In the 18.th century the characters and the subjects  matter all are about ordinary people. Middle class values are foregrounded.

, 2011); Laurence Coupe's Marina Warner (The British Council, 2006). Zekri's thin but dense book anticipates Lisa Propst's Marina Warner and the Ethics of Telling Silenced Stories (2020), which is about to be published by McGill-Queen's University Press, in that it is concerned with silenced stories. Mapping Metabiographical Hearlands, which echoes Warner's subtitle to Indigo (1992)-'Mapping the Waters'-explores three other heartlands besides Indigo, that is, In A Dark Wood (1977), The Lost Father (1988), and The Leto Bundle (2000). Zekri uses the notion of 'metabiography' to refer to 'self-reflexive biographical subtexts' (2) in these novels, which roughly span the second half of the twentieth century. Each of these novels is a furious admixture of fiction, history, and life-writing, and hosts biographies, memoirs (and even meta-memoirs), charters, annals, diaries, letters of officialdom or more discreet epistolary documents, chronicles, epitaphs, and, as the past millennium draws to a close, emails. The embedding of such implants is called 'engrafting,' a horticultural-critical concept of Zekri's own alloy. Throughout her meticulous study, Souhir Zekri intimates that the grafted shoot did successfully take root in the Warnerian arboretum, which is to be expected since the graft and the grafted both belong to

This thesis discusses the concept of creation in George Bernard Shaw’s Pygmalion (1912) and Mary Shelley’s Frankenstein (1818). It examines how Shaw and Shelley utilize the notion of creation in order to reflect upon social, political and cultural issues as well as on human relationships. It also focuses on the similarities and differences between the two works in terms of their deployment of the concept of creation. In order to achieve such objectives, this thesis deploys a descriptive-analytical approach as well as an in-depth-analysis of the characters in both texts. By means of integrating the concept of creation in Pygmalion, Shaw directs sharp criticism towards capitalism and its ills. As shown in the play, Professor Higgins endeavors to “create” a new social identity for Eliza in order for her to fit within a capitalistic society. In Shelly’s Frankenstein, Shelly criticizes some human trait, namely vanity and pride. Victor Frankenstein succeeds in creating a human body but fails to take care of his creation. Rather, he causes his creature much pain and agony and fails to protect him following the process of creation. Frankenstein fulfills his passion for excelling in science, yet he distorts the life of “the monster” he has created. Both Shaw and Shelley deploy the notion of creation in order to effect on social, political and cultural issues as well as on human relationships. While the two works are similar in their indication of the idea of creation, they are different in terms of what they try to achieve.
Keywords: The Concept of Creation, Pygmalion, Frankenstein

This study focuses on the representation of women in British feminist drama that challenges gender roles and gets stuck in having obsessive power as an outcome of the policy of the first British woman Prime Minister Margaret Thatcher. The study discusses excessively ambitious women who question patriarchal order and subvert gender roles to get power and finally left alone on the top like Thatcher. Marlene in Caryl Churchill's play Top Girls, Marion in Churchill's play Owners, Mary Traverse in Timberlake Wertenbaker's play The Grace of Mary Traverse are discussed throughly. Marlene, Marion, and Mary are the representatives of the destructive effects of the ambition for power that characterize Thatcher's Britain. Socialist/materialist feminism is applied to the plays both to criticize selfish Thatcherite powerful women figures and to express the lack of collaboration among women to improve their position.

The works of William Shakespeare have a universal influence and are considered representatives of all times and all ages. Critics, scholars, academics, and students have been rereading, reexamining, retelling, and restaging his plays century after century. This dissertation proposes to examine The Tempest as a postmodern text. The postmodern elements: ant-formality, pastiche, intertextuality, paranoia, irony, playfulness, puns, wordplays, conspiracy theories, temporal distortion, and supernatural elements, create an atmosphere in The Tempest, which can be described as postmodern. Focusing on Ihab Hassan and Brian McHale's definition and characterization of postmodernism which have created an opportunity to have a postmodern approach to The Tempest, this paper illustrates how Shakespeare deconstructs the formal properties of the text and uses pastiche that projects a postmodern connotation of the play. The dissertation also explores the religious, mythological, geographical, and ...