The Art of Writing Drama is an indispensable textbook for wherever writing for the stage is taught, but also serves as a foundational book for any student taking courses in performance media - radio, television and film. Coupling theory with practice, the book opens with a survey of the current methodologies of teaching playwriting and of textual analysis. The theories of Bakhtin, Foucault and Derrida are examined as are the agendas of play reviewers from the national press. In the second section of the book, a wealth of guidance with practical exercises on the skills of writing for the stage is provided. Throughout the text, Wandor draws on her extensive experience as both playwright and teacher of creative writing to provide a guide that is both a scholarly and an immensely practical guide to writing for the theatre.
In this challenging book, first published in 1987, Michelene Wandor looks at the best-known plays in the thirty years prior to publication, from Look Back in Anger onwards. Wandor investigates the representation of the family and different forms of sexuality in these plays and re-reviews them from a perspective that throws into sharp relief the function of gender as an important determinant of plot, setting and the portrayal of character. Juxtaposing the period before 1968, when statutory censorship was still in force, with the years following its abolition, Wandor scrutinises the key plays of, among others, Osborne, Pinter, Wesker, Arden, and Delaney. Each one is analysed in terms of its social context: the influence of World War II, the testing of gender roles, the development of the Welfare State and changes in family patterns, and the impact of feminist, Left-wing and gay politics. Throughout the period, two generations of playwrights and theatregoers transformed the theatre into a forum in which they could articulate and explore the interaction of their interpersonal relationships with the wider political sphere. These changes are explored in this title, which will allow readers to re-evaluate their view of post-war British drama.
In this extensively revised and updated edition of her classic work, Look Back in Gender, Michelene Wandor confirms the symbiotic relationship between drama and gender in a provocative look at key, representative British plays from the last fifty years. Repositioning the text at the heart of hteatre studies, Wandor surveys plays by Ayckbourn, Beckett, Churchill, Daniels, Friel, Hare, Kane, Osborne, Pinter, Ravenhill, Wertenbaker, Wesker and others. Her nuanced argument, central to any analysis of contemporary drama, discusses: *the imperative of gender in the playwright's imagination *the function of gender as a major determinant of the text's structural and narrative drives *the impact of socialism and feminism on post-war British drama, and the relevance of feminist dynamics in drama *differences in the representation of the fmaily, sexuality and the mother, before and after 1968 *the impact of the slogan that the 'personal is political' on contemporary form and content.
Critical-Creative Writing: Two Sides of the Same Coin is a Reader which bridges the gap between Creative Writing (CW) how-to handbooks, and anthologies of Literary and Cultural Theory.
DOES MUSIC CONTAIN EMOTION? DOES MUSIC HAVE MEANING? These questions are at the heart of musical experience, for performers, amateurs, teachers and audiences. Michelene Wandor’s readable and provocative book ranges from the early music revival, via the Doctrine of Affects to today’s historical performance practice. Surveying key musicological texts, the book includes interviews with conservatoire teachers and performers, including Sir Roger Norrington. The book argues for the power of music, encouraging everyone to think about what music means – to them personally, as an art form and as a rich experience to be enjoyed.
In Orfeo’s Last Act, set in 17th-century Italy, Monteverdi rewrites 'Orfeo's' ending with Salamone Rossi's help. The original was lost. In modern East Anglia, Emilia discovers a mysterious manuscript, leading her into a world of passion, danger, forgery, and academic intrigue.
The rapid expansion of creative writing courses in higher education, from undergraduate to MA/MFA and PhD level, has generated its own literature and pedagogical practices. All students, at all levels, are asked to supply some kind of 'reflective commentary' on their creative writing. All students also participate in workshops, where student writing is subject to peer and tutor criticism. There is no agreed, standardised way in which either of these practices is approached. While this variety of approaches is one of creative writing's strengths, it is also a serious, and sometimes confusing limitation. Providing a historical, literary and theoretical resource for creative writing students and their teachers, Critical-Creative Writing offers secure grounding for critical commentaries and provides material for workshop use and clarification of the critical process itself. Critical-Creative Writing is the first of its kind to offer a unique support for students dealing with criticism and critical commentary as part of their creative writing practice and assessment.
Fluviatile is the culmination of a 10 year visual journey; the artist Lindsey Adams' concentrated relationship with a small insignificant Derbyshire brook, has revealed aspects of this watercourse which are unseeable with the naked eye. The surface, and multiple layers of underwater currents are photographed with an intense scrutiny and painterly sensibility. Michelene Wandor has written 'Ophelia: the poem', in response to the sequence of images. In her introductory essay, Rebecca Fortnum writes- At the heart of Fluviatile is a paradox that is both compelling and frustrating; the representation of something in flux by means of a 'still'. On the face of it, the decision to photograph flowing water seems oddly perverse; a doomed attempt to capture a living event in an arrested moment. Yet on studying these quietly beautiful images one realises that this thwarted desire for movement possesses something quite mesmeric.
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