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This first collection of Tony Harrison's poetry for the stage is made up of his masterly adaptations of the medieval cycle of The Mystery Plays.Includes The Nativity , The Passion and Doomsday , with an Introduction by Tony Harrison which places these Northern classics both in the context of the original cycle of plays and of Tony Harrison's own poetry.
This first collection of Tony Harrison's poetry for the stage is made up of his masterly adaptations of the medieval cycle of The Mystery Plays. Includes The Nativity, The Passion and Doomsday, with an Introduction by Tony Harrison which places these Northern classics both in the context of the original cycle of plays and of Tony Harrison's own poetry.
Tony Harrison and the Classics by Sandie Byrne Pdf
Tony Harrison and the Classics comprises fifteen chapters examining the lasting importance of Tony Harrison's classical education, the extent of the influence of Greek and Roman texts on his subjects, themes, and styles, his contribution to knowledge and understanding of classical literature, his popularization of classical works, and his innovative treatment of classical drama in plays which have been performed globally. Harrison's work fosters debates about the role and perception of the classics and adaptations of classical literature in relation to education, 'high' and 'popular' culture, accessibility, and reception. A unifying theme of the collection is the way in which Harrison finds in classical literature fruitful matter for the articulation and dramatization of his longstanding preoccupations: language, class, access to art, and the causes and effects of war. Through his adaptations and translations, Harrison uses classical drama to stage interventions in modern politics, but neither idealizes nor romanticizes the ancient world, depicting inequality, bigotry, greed, and brutality.
Tony Harrison's v. was written during the Miners' Strike of 1984-85 when he visited his parents' grave in a Leeds cemetery and found it vandalised by obscene graffiti. Channel Four's film of v. prompted extreme political and media reaction documented in the book's second edition (1989).
Tony Harrison's sixth collection includes a foreword by Lee Hall. The book contains Harrison's translation of Euripides's Hecuba, which inaugurated the modern amphitheatre of Delphi in 2005; the remarkable Fram, which opened at the National Theatre in 2008; and Iphigenia in Crimea, after Euripides, which premiered on BBC Radio 3 to mark Tony Harrison's eightieth birthday in 2016.'Tony is that incredibly rare beast: as great a playwright as he is a poet.' Lee Hall 'I am convinced that Tony Harrison is one of the truly great poets writing in English today.' Melvyn BraggHecuba 'Harrison's urgent translation never lets us forget the aching topicality of Euripides' study of the powerful and the powerless.' Guardian Fram'Harrison brings gloriously rich life to the stage, by turns funny and rending. His couplets are a feast for rhyme junkies.' Financial Times'As visually resplendent a piece of theatre as you will see all year. The words more than hold their own, however, expressing in rhymes to be relished that poetry might yet, if not lead us out of the darkness, at least make us feel ashamed we're still stuck in it.' Sunday Times Iphigenia in Crimea Set in Sebastapol, 1854, inthe midst of the Crimean war, a lieutenant decides to stage an all-male production of Euripides's tragedy. After initial raucous incredulity, the atmosphere changes as the men commit themselves to the drama until, as it draws to a close, ancient and modern worlds collide and warfare resumes in earnest.
This is the first book-length study of the classicism of Tony Harrison, one of the most important contemporary poets in England and the world. It argues that his unique and politically radical classicism is inextricable from his core notion that poetry should be a public property in which communal problems are shared and crystallised, and that the poet has a responsibility to speak in a public voice about collective and political concerns. Enriched by Edith Hall's longstanding friendship with Harrison and involvement with his most recent drama, inspired by Euripides' Iphigenia in Tauris, it also asserts that his greatest innovations in both form and style have been direct results of his intense engagements with individual works of ancient literature and his belief that the ancient Greek poetic imagination was inherently radical. Tony Harrison's large body of work, for which he has won several major and international prizes, and which features on the UK National Curriculum, ranges widely across long and short poems, plays, translations and film poems. Having studied Classics at Grammar School and University and having translated ancient poets from Aeschylus to Martial and Palladas, Harrison has been immersed in the myths, history, literary forms and authorial voices of Mediterranean antiquity for his entire working life and his classical interests are reflected in every poetic genre he has essayed, from epigrams and sonnets to original stage plays, translations of Greek drama and Racine, to his experimental and harrowing film poems, where he has pioneered the welding of tightly cut video materials to tightly phrased verse forms. This volume explores the full breadth of his oeuvre, offering an insightful new perspective on a writer who has played an important part in shaping our contemporary literary landscape.
Tony Harrison: Loiner is published to celebrate the poet and playwright Tony Harrison's sixtieth birthday through an exploration of his work, including his best-known poem v.. Harrison (1937- ) has been called `our best English poet', and has been awarded a number of prizes for his poetry, including the Geoffrey Faber Memorial Prize, the Royal Television Society Award, the Prix Italia, and the Whitbread Prize for Poetry. This book gives his work the serious critical attention it merits, with essays from a number of prominent contributors, including Richard Eyre and Melvyn Bragg, and a foreword by Grey Gowrie. The collection ranges from personal recollections of working with Tony Harrison and personal responses to his poems, to detailed critical analyses of his techniques and themes, covering Harrison's short poems and sonnet sequence, his plays, his television poem-films, and his libretti, spanning the years 1955-1997. A `loiner' is a native of Leeds, where Tony Harrison was born and spent the early part of his life, and from which he was dispossessed by the enforced translation of the state scholarship system. The word also connotes other aspects of Tony Harrison: the `loins' of his poetry—its energy and physicality—and the `loners' who are its main protagonists—men and women dispossessed of their class, nation, language, and identity. At sixty, Harrison is at his poetic peak, producing plays, film-scripts, libretti, journalistic responses to social and national strife, impassioned speeches of love and outrage—always in poetry. Tony Harrison: Loiner introduces the major themes and forms of our most exciting and cosmopolitan as well as technically accomplished poet, and reassesses his achievement and place in twentieth-century literature.
'The dead travel fast and, in our contemporary globalised world, so too does the gothic.' Examining how gothic has been globalised and globalisation made gothic, this collection of essays explores an emerging globalgothic that is simultaneously a continuation of the western tradition and a wholesale transformation of that tradition which expands the horizons of the gothic in diverse new and exciting ways.Globalgothic contains essays from some of the leading scholars in gothic studies as well as offering insights from new scholars in the field. The contributors consider a wide range of different media, including literary texts, film, dance, music, cyberculture, computer games, and graphic novels. This book will be essential reading for all students and academics interested in the gothic, in international literature, cinema, and cyberspace.
This book examines the political meanings of Tony Harrison's imaginative works and offers a reassessment of the poet's political character. While Harrison's class political analysis has been central to much of the discussion of his poetry, his concern with colonialism still generates relatively little commentary. The nature of his republicanism and its importance for his poetry has been neglected, while his humanism tends to be seen as at odds with his politics. This study discusses Harrison's concern with internal colonialism in the United Kingdom and internationalist anti-colonial poetic. It witnesses the radical political inclusiveness of his humanism and his giving the dispossessed a voice in his high cultural poetry. Particular attention is accorded to his ambiguous identification with John Milton as a great republican poet, his location of Milton and himself in a radical republican literary lineage, and his wider excavation of that lineage. It also illuminates Harrison's unnoticed elective affinity with Arthur Rimbaud as a regional poet with the wrong accent, as 'a hoodlum poet' who fell silent and became an explorer and fortune-seeker in Africa, as a white 'negre', and as the great outsider now feted as a high cultural poet. Harrison's political convictions and loyalties will be shown to be consistent in the different historical, literary, and social contexts that the poems take as their subjects, or that are opened up by their allusive fields. The book will newly establish that the creative dialectical interplay between the class, anti-colonial, and radical republican and humanist aspects of the poetry, and his literary elective affinities, are essential for understanding the aesthetics and the politics of the Rimbaud of Leeds. The Rimbaud of Leeds is a literary contextual study of the political meanings of important poems by the Leeds poet Tony Harrison (1937 - ). It is based primarily on an examination of Harrison's non-dramatic original poetry that appears in The Loiners (1970), the ongoing sonnet sequence The School of Eloquence (1978- ), and the separately published v. (1985), while presenting that work within an awareness of his complete oeuvre. Reference and illuminating comparison is made to other germane works, to Harrison's account of his work in interviews and prefaces, and to his newly available letters, notebooks, and manuscripts. The principal focus of the book is the political character of the poetry. The poems selected for examination are exemplars of what I argue is Harrison's radical humanist and republican poetic, and of how issues of class and colonialism are interrelated in the poetry. The book locates the works in previously unnoticed or neglected contexts, and shows the critical importance of history for understanding the poems. It reveals Harrison's detailed engagement with the politics and history of England and Africa in particular. New contextual information necessary for understanding the political, historical, biographical and literary references in the poems is offered in the book, and it sketches the key political and aesthetic features of the poetry."
Tony Harrison and the Holocaust by Antony Rowland Pdf
This book argues that Tony Harrison’s poetry is barbaric. It revisits one of the most misquoted passages of twentieth-century philosophy: Theodor Adorno’s apparent dismissal of post-Holocaust poetry as ‘impossible’ or ‘barbaric’. His statement is reinterpreted as opening up the possibility that the awkward and embarrassing poetics of writers such as Harrison might be re-evaluated as committed responses to the worst horrors of twentieth-century history. Most of the existing critical work on Harrison focuses on his representation of class, which occludes his interest in other aspects of historiography. The poet’s predilection for establishing links between the atrocities perpetrated by the Nazis, the bombing of Hiroshima and Nagasaki, and the prospect of global annihilation is examined as a commitment to oppose the dangers of linguistic silence. Hence Harrison’s work can be read fruitfully within the growing field of Holocaust Studies: his texts enter into arguments about the ethics of representing traumatic incidents that still haunt the contemporary. Harrison’s status as a ‘non-victim’ author of the events is stressed throughout. His writing of the Holocaust, allied bombings and atom bomb is mediated by his reception of the events through newsreels as a child, and his adoption and subversion, as an adult poet, of traditional poetic forms such as the elegy and sonnet. This book also discusses the ways in which Holocaust literature engages with a number of concepts challenged or altered by the historical events, such as love, mourning, memory, humanism, culture and barbarism, articulacy and silence.
This second collection of Tony Harrison's poetry for the stage contains his adaptations of Molière, Racine and Victor Hugo. Included are the plays The Misanthrope, Phaedra Britannica and The Prince's Plays.The volume contains introductions, written by Tony Harrison, to each of the plays.
A Companion to Modern British and Irish Drama, 1880 - 2005 by Mary Luckhurst Pdf
This wide-ranging Companion to Modern British and Irish Drama offers challenging analyses of a range of plays in their political contexts. It explores the cultural, social, economic and institutional agendas that readers need to engage with in order to appreciate modern theatre in all its complexity. An authoritative guide to modern British and Irish drama. Engages with theoretical discourses challenging a canon that has privileged London as well as white English males and realism. Topics covered include: national, regional and fringe theatres; post-colonial stages and multiculturalism; feminist and queer theatres; sex and consumerism; technology and globalisation; representations of war, terrorism, and trauma.
A Companion to Sophocles presents the first comprehensive collection of essays in decades to address all aspects of the life, works, and critical reception of Sophocles. First collection of its kind to provide introductory essays to the fragments of his lost plays and to the remaining fragments of one satyr-play, the Ichneutae, in addition to each of his extant tragedies Features new essays on Sophoclean drama that go well beyond the current state of scholarship on Sophocles Presents readings that historicize Sophocles in relation to the social, cultural, and intellectual world of fifth century Athens Seeks to place later interpretations and adaptations of Sophocles in their historical context Includes essays dedicated to issues of gender and sexuality; significant moments in the history of interpreting Sophocles; and reception of Sophocles by both ancient and modern playwrights
Verse Drama in England, 1900-2015 by Irene Morra Pdf
Verse Drama in England, 1900-2015 provides a critical and historical exploration of a tradition of modern dramatic creativity that has received very little scholarly attention. Exploring the emergence of a distinctly modern verse drama at the turn of the century and its development into the twenty-first, it counters common assumptions that the form is a marginal, fundamentally outdated curiosity. Through an examination of the extensive and diverse engagement of literary and theatrical writers, directors and musicians, Irene Morra identifies in modern verse drama a consistent and often prominent attempt to expand upon, revitalize, and redefine the contemporary English stage. Dramatists discussed include Stephen Phillips, Gordon Bottomley, John Masefield, James Elroy Flecker, T. S. Eliot, W. H. Auden, Ronald Duncan, Christopher Fry, John Arden, Anne Ridler, Tony Harrison, Steven Berkoff, Caryl Churchill, and Mike Bartlett. The book explores the negotiation of these dramatists with the changing position of verse drama in relation to constructions of national and communal audience, aesthetic challenge, and dramatic heritage. Key to the study is the self-conscious positioning of many of these dramatists in relation to an assumed mainstream tradition – and the various critical responses that that positioning has provoked. The study advocates for a scholarly revaluation of what must be identified as an influential and overlooked tradition of aesthetic challenge and creativity.
