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121 pages

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Numerous plays have professionals as major characters, but academia has ignored them to a large extent. The Professions in Contemporary British Drama fills this extraordinary gap with a series of nine papers discussing the educational professions (Bennett, Mangan), the medical profession (Shields, Buse, ), priests (Kurdi), archaeologists (Forsyth) and artists (Di Benedetto, Meyer-Dinkgräfe, Edwards). The book is of relevance to theatre academics and students at both undergraduate and postgraduate levels. It is based on a conference organised in conjunction with the Centre for English Studies, School of Advanced Studies, University of London, 6 March 1998.

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Publié par	Intellect Books
Date de parution	01 janvier 2003
Nombre de lectures	0
EAN13	9781841508795
Langue	English

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The Professions in Contemporary Drama
Daniel Meyer-Dinkgr fe
First Published in Great Britain in Paperback in 2003 by
Intellect Books , PO Box 862, Bristol BS99 1DE, UK
Published in Paperback in USA in 2003 by
Intellect Ltd , ISBS, 5824 N.E. Hassalo St, Portland, Oregon 97213-3644, USA
Copyright 2003 Intellect
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
Copy Editor: Peter Young Typesetting: Macstyle Ltd , Scarborough, N. Yorkshire Printing: Antony Rowe Ltd, Eastbourne, UK
A catalogue record for this book is available from the British Library
Electronic ISBN 1-84150-879-9 / ISBN 1-84150-047-X
The cover photograph shows Daniel Illsley as Young Beckett in Dic Edwards' Wittgenstein's Daughter
Contents
Acknowledgements
Contributors
Introduction
Daniel Meyer-Dinkgr fe
1 Bouncer-Teacher-Doctor: Gentrification and the Role of the Outsider in the Plays of John Godber
John Bennett
2 Appalling Teachers : Masculine Authority in the Classroom in Educating Rita and Oleanna
Michael Mangan
3 Theatricality and Madness: Minding the Mind-doctors
Tim Shields
4 Carry on Welfare State: Orton, Nichols, and the Medical Profession
Peter Buse
5 The Priest Character s Space and Function in Contemporary British and Irish Drama
M ria Kurdi
6 The Depiction of the Artist in David Storey s Life Class : The Play as Visual Art
Stephen Di Benedetto
7 The Artist as Character in Contemporary British Bio-Plays
Daniel Meyer-Dinkgr fe
8 The Professional Archaeologist and The Aesthetics of Cultural Imperialism in Tony Harrison s The Trackers of Oxyrynchus
Alison Forsyth
9 Wittgenstein and Morality - The Playwright s Purpose
Dic Edwards
Bibliography
Acknowledgements
Most of the essays in this volume are expanded versions of papers presented at a conference on The Professions in Contemporary British Drama, organised by Daniel Meyer-Dinkgr fe in conjunction with the Centre (now Institute) of English Studies, part of the School of Advanced Study, University of London, on March 6, 1998. The contributions by Mangan, Kurdi and Forsyth were written specially for this collection.
M ria Kurdi has incorporated her longer treatment of John Barrett and Martin McDonagh from her book of essays Codes and Masks: Aspects of Identity in Contemporary Irish Plays in an Intercultural Context (Frankfurt am Main, Peter Lang Verlag, 2000). An earlier version of the second part of Daniel Meyer-Dinkgr fe s contribution appeared as Writing about Artists: Self-referral in Drama and Society , Critical Survey 10: 2 (1998), 52-60.
Contributors
John Bennett is senior lecturer in Drama and Theatre Studies at Liverpool Hope University College. His association with John Godber began in the late seventies when they were both drama students at Bretton Hall College, West Yorkshire, and appeared together in the first production of Bouncers at the Edinburgh Festival Fringe in 1977. He was recently commissioned to construct and maintain the John Godber website (www.johngodber.co.uk) and is the author of the entry on Godber in the Dictionary of Literary Biography (Buccoli - Clark - Layman, Vol. 233, ed. John Bull). His most recent Godber credit is for the chronology of plays which preface Godber: Plays One (Methuen 2001). He is currently completing doctoral research in this area. His other research interests are contemporary popular theatre, playwriting methodology and the marginalisation of northern playwrights.
Peter Buse is Lecturer in English and a member of the European Studies Research Institute at the University of Salford. He is the author of Drama plus theory: Critical approaches to modern British drama (Manchester: Manchester UP, 2001) and co-editor of Ghosts: Deconstruction, Psychoanalysis, History (Basingstoke: Macmillan, 1999).
Stephen Di Benedetto is currently an Assistant Lecturer in Modern Drama at the Drama Studies Centre, University College Dublin. He received his PhD from Goldsmiths College, University of London in 1999 for his thesis Playwriting as a Visual Art: A Study of Contemporary English-speaking Dramaturgy Using the Works of Five Playwrights Trained as Fine Artists. His article Concepts in Spatial Dynamics: Robert Wilson s Dramaturgical Mechanics and the Visible on Stage is published as part of Space and the Postmodern Stage , edited by Irene Eynat-Confino and Eva Sormova. He has published numerous book and production reviews in Theatre Research International , New Theatre Quarterly , Theatre Journal , Irish Theatre Magazine and Journal of Dramatic Theory and Criticism . He is now actively engaged in research on the body in contemporary live art and obscenity in contemporary English dramaturgy.
Dic Edwards plays have been produced throughout the UK in London, at The Citizens Theatre in Glasgow, Leicester Haymarket, The Sherman Theatre, The Point and Chapter Arts Centre Cardiff and Theatr Clwyd. He has also written two libretti for Broomhill Opera. Several of his plays have been translated into European languages. He is published by Oberon Books, London. Dic Edwards is Lecturer in Creative Writing at Lampeter University
Alison Forsyth has been awarded degrees from the Universities of Surrey, Edinburgh and Stirling. Besides having worked in publishing and administration, she has held lectureships at the Universities of Stirling, Aberystwyth, Tunisia and Bahrain. Dr Forsyth has recently completed a monograph entitled Gadamer, History and The Classics: Marowitz, Fugard, Berkoff and Harrison Rewrite The Theatre (New York: Peter Lang, 2000). She has also contributed articles, reviews and papers to a number of scholarly publications and conferences. She is currently working on another book and preparing an edition of dramatic rewrites . Since January 2001, she has been a lecturer in Theatre Studies at the University of Staffordshire.
M ria Kurdi is associate professor in the Department of English Literatures and Cultures at the University of P cs, Hungary. Her main fields of teaching and research are modern Irish literature and English-speaking drama. Her publications include a book in Hungarian surveying contemporary Irish drama published in Budapest, and a book of essays titled Codes and Masks: Aspects of Identity in Contemporary Irish Plays in an Intercultural Context , published by Peter Lang, Frankfurt. Besides these, she has published numerous articles about twentieth-century Irish, American and British authors. She is guest editor of a special issue of the Hungarian Journal of English and American Studies , which contains papers about the work of Brian Friel and contemporary Irish literature in general. Since 1998 she has been editor-in-chief of a biennial scholarly series called Focus: Papers in English Literatures and Cultures , published by the University of P cs. She is member of IASIL and a Hungarian consultant for the Z rich James Joyce Foundation.
Michael Mangan is an academic and playwright, who has taught at Universities both in the UK and the US. He is at present writing a book about theatre and the staging of masculinities. His past academic publications include Doctor Faustus: A Critical Study (Penguin, 1987), A Preface to Shakespeare s Tragedies (Longman, 1991), A Preface to Shakespeare s Comedies (Longman, 1996), and Writers and their Work: Edward Bond (Northcote House/British Council, 1998). Plays include The Earth Divided (1985), The Fairy Feller s Master-Stroke , Festival (1988), and Settling with the Indians (1991). He currently holds the Chair of Drama in the Department of Theatre, Film and Television Studies of the University of Wales, Aberystwyth.
Daniel Meyer-Dinkgr fe studied English and Philosophy at the Universit t D sseldorf, Germany, trained as a teacher, worked as manager of a computer software company, taught Literature and Philosophy at Maharishi International University, Norway (1989-1991) and German at various schools in London. PhD in 1994 at the Department of Drama, Theatre and Media Arts, Royal Holloway, University of London. Thesis on Consciousness and the Actor: A Reassessment of Western and Indian Approaches to the Actor s Emotional Involvement from the Perspective of Vedic Psychology . Since 1994, lecturer, Department of Theatre, Film and Television Studies, University of Wales Aberystwyth; editor of Who s Who in Contemporary World Theatre (Routledge, 2000), author of Approaches to Acting, Past and Present (Continuum, 2001), and founding editor of the web-based journal Consciousness, Literature and the Arts (URL: http://www.aber.ac.uk/tfts/journal ).
Tim Shields is a Senior Lecturer in English and Applied Studies at the University of Derby. His teaching interests are in the area of drama and film, and the interaction between texts and image-making. He has also worked in the field of creative writing, for theatre and film, and teaches screenwriting on the University s creative writing programme. His current research is into the use of IT for Humanities subjects, and he has recently launched a web-based Shakespeare course.
Introduction
In twentieth and twenty-first century developed societies, some people acquire knowledge, usually through conventional university education, and base their occupation on this knowledge. They are, as Keith Macdonald puts it, members of knowledge-based occupations (1995). They strive to be accepted by society as professionals. As professionals, they are in a privileged position in society as far as esteem, acceptance and income are concerned. It is their specialist knowledge that opens their access to the world of the professions, compared with people lacking such knowledge.
Sociology has been discussing the phenomenon of the professions and professionalisation of society quite intensively. Until the late 1960s, Macdonald argues, th