May is an idealist. She’s fighting for a better world and has sacrificed more than most. So when the old regime is destroyed, she is rewarded with a job as a prison photographer.But as the enemy pass one by one before her unflinching lens - both strange and familiar faces - can they shake her belief in this world she helped to create? Inspired by the work of the photographer Nhem En, who photographed the inmates of the Tuol Sleng prison in Cambodia under the rule of the Khmer Rouge, and by painter Van Nath who painted Pol Pot and was one of the only seven survivors of Tuol Sleng, playwright Sarah Grochala draws on prison records and interviews with both prisoners and Khmer Rouge cadres to create a startling and affecting drama. S-27 won the first Protect The Human Playwriting Competition in 2007, run by iceandfire in conjunction with Amnesty International and Soho Theatre, and was in production at the Finborough Theatre in June 2009.
What does it mean for a play to be political in the 21st century? Does it require explicit engagement with events and situations with the aim of bringing about change or highlighting social wrongs? Is it purely a matter of content or is it also a matter of structure? The Contemporary Political Play: Rethinking Dramaturgical Structure examines the politics of contemporary 'political' drama. It traces the origins of the contemporary British political play to the emergence of the idea of 'serious drama' in the late 19th century through the work of Bernard Shaw, and argues that a Shavian version of serious drama was inextricably linked to the social and political structures of British society at the time. While political drama is still often thought of as adhering to a Shavian model in which social issues are presented through a dialectical structure, Grochala argues that the different political structures of contemporary Britain give rise to formally inventive dramaturgies that are no less 'serious' or political than their Shavian forebears. Through analysing the experimental dramaturgies of contemporary plays by playwrights including Caryl Churchill, Simon Stephens, Anthony Neilson, debbie tucker green and Mark Ravenhill, among others, it offers a set of new principles for understanding how a play functions politically and reveals how today the dramaturgical structure of a play is as political as its content.
Since the late 1990s, Rupert Goold has garnered a reputation as one of the UK's most exciting and provocative theatre directors. His exhilarating, risk-taking productions of both classic texts and new plays have travelled from regional stages to the National Theatre, the West End, Broadway and beyond. Through his artistic directorship of Northampton's Royal & Derngate, the touring theatre company Headlong and London's Almeida Theatre, he has radically transformed, not only the companies themselves, but the landscape of British theatre. This is the first book to survey and analyse the full range of Goold's work to date and is a vital resource for students, scholars and fans of his work. Based on extensive interviews with Goold and some of the playwrights, designers, actors and other creatives who have collaborated with him, The Theatre of Rupert Goold provides an account of Goold's work from the beginnings of his career to the present day, offering a backstage view of the creative processes behind some of his most successful productions including: Paradise Lost, Faustus (Royal & Derngate); Macbeth (Chichester Festival Theatre); The Tempest, Romeo and Juliet (RSC); Six Characters in Search of an Author, ENRON (Headlong); Time and the Conways (National Theatre); Charles III and Ink (Almeida). The Theatre of Rupert Goold is an accessible and fascinating guide to Goold's approach to making theatre, an approach that asks provocative questions of the modern world in the most theatrical ways imaginable.
Since the late 1990s, Rupert Goold has garnered a reputation as one of the UK's most exciting and provocative theatre directors. His exhilarating, risk-taking productions of both classic texts and new plays have travelled from regional stages to the National Theatre, the West End, Broadway and beyond. Through his artistic directorship of Northampton's Royal & Derngate, the touring theatre company Headlong and London's Almeida Theatre, he has radically transformed, not only the companies themselves, but the landscape of British theatre. This is the first book to survey and analyse the full range of Goold's work to date and is a vital resource for students, scholars and fans of his work. Based on extensive interviews with Goold and some of the playwrights, designers, actors and other creatives who have collaborated with him, The Theatre of Rupert Goold provides an account of Goold's work from the beginnings of his career to the present day, offering a backstage view of the creative processes behind some of his most successful productions including: Paradise Lost , Faustus (Royal & Derngate); Macbeth (Chichester Festival Theatre); The Tempest , Romeo and Juliet (RSC); Six Characters in Search of an Author , ENRON (Headlong); Time and the Conways (National Theatre); Charles III and Ink (Almeida). The Theatre of Rupert Goold is an accessible and fascinating guide to Goold's approach to making theatre, an approach that asks provocative questions of the modern world in the most theatrical ways imaginable."--
What does it mean for a play to be political in the 21st century? Does it require explicit engagement with events and situations with the aim of bringing about change or highlighting social wrongs? Is it purely a matter of content or is it also a matter of structure? The Contemporary Political Play: Rethinking Dramaturgical Structure examines the politics of contemporary 'political' drama. It traces the origins of the contemporary British political play to the emergence of the idea of 'serious drama' in the late 19th century through the work of Bernard Shaw, and argues that a Shavian version of serious drama was inextricably linked to the social and political structures of British society at the time. While political drama is still often thought of as adhering to a Shavian model in which social issues are presented through a dialectical structure, Grochala argues that the different political structures of contemporary Britain give rise to formally inventive dramaturgies that are no less 'serious' or political than their Shavian forebears. Through analysing the experimental dramaturgies of contemporary plays by playwrights including Caryl Churchill, Simon Stephens, Anthony Neilson, debbie tucker green and Mark Ravenhill, among others, it offers a set of new principles for understanding how a play functions politically and reveals how today the dramaturgical structure of a play is as political as its content.
Since the late 1990s, Rupert Goold has garnered a reputation as one of the UK's most exciting and provocative theatre directors. His exhilarating, risk-taking productions of both classic texts and new plays have travelled from regional stages to the National Theatre, the West End, Broadway and beyond. Through his artistic directorship of Northampton's Royal & Derngate, the touring theatre company Headlong and London's Almeida Theatre, he has radically transformed, not only the companies themselves, but the landscape of British theatre. This is the first book to survey and analyse the full range of Goold's work to date and is a vital resource for students, scholars and fans of his work. Based on extensive interviews with Goold and some of the playwrights, designers, actors and other creatives who have collaborated with him, The Theatre of Rupert Goold provides an account of Goold's work from the beginnings of his career to the present day, offering a backstage view of the creative processes behind some of his most successful productions including: Paradise Lost, Faustus (Royal & Derngate); Macbeth (Chichester Festival Theatre); The Tempest, Romeo and Juliet (RSC); Six Characters in Search of an Author, ENRON (Headlong); Time and the Conways (National Theatre); Charles III and Ink (Almeida). The Theatre of Rupert Goold is an accessible and fascinating guide to Goold's approach to making theatre, an approach that asks provocative questions of the modern world in the most theatrical ways imaginable.
May is an idealist. She’s fighting for a better world and has sacrificed more than most. So when the old regime is destroyed, she is rewarded with a job as a prison photographer.But as the enemy pass one by one before her unflinching lens - both strange and familiar faces - can they shake her belief in this world she helped to create? Inspired by the work of the photographer Nhem En, who photographed the inmates of the Tuol Sleng prison in Cambodia under the rule of the Khmer Rouge, and by painter Van Nath who painted Pol Pot and was one of the only seven survivors of Tuol Sleng, playwright Sarah Grochala draws on prison records and interviews with both prisoners and Khmer Rouge cadres to create a startling and affecting drama. S-27 won the first Protect The Human Playwriting Competition in 2007, run by iceandfire in conjunction with Amnesty International and Soho Theatre, and was in production at the Finborough Theatre in June 2009.
Coco, Mari and Helena are The Sweethearts, a manufactured girl band who are rarely off the front page of the tabloids. In need of some positive publicity, they travel to Afghanistan to do a special gig for the troops at Camp Bastion before the base is handed over to Afghan officials. A group of battle weary soldiers, chosen to protect these three beautiful celebrities, eagerly await their arrival. But when there's an attack on the base, The Sweethearts and the soldiers are thrown together and forced to wait it out in very close quarters... Marking the first anniversary of the departure of British Troops from Afghanistan after a thirteen-year campaign and the deaths of 453 British service personnel, The Sweethearts is a new play about the people we choose to make into our heroes and how we tear them back down...
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