In New Labour's empathetic regime, how did diverse voices scrutinize its etiquettes of articulation and audibility? Using the voice as cultural evidence, Voice and New Writing explores what it means to 'have' a voice in mainstream theatre and for newly included voices to negotiate with the institutions that 'find' and 'represent' their identities.
|Publisher:||Palgrave Macmillan UK|
|Edition description:||1st ed. 2015|
|Product dimensions:||5.51(w) x 8.50(h) x (d)|
About the Author
Maggie Inchley is a lecturer in Drama, Theatre and Performance at Queen Mary University of London, UK, and has previously lectured at the University of Surrey and Birkbeck College. As a practitioner she has directed and developed work for theatre, radio, and applied fields.
Table of ContentsIntroduction: Articulating the Demos 1 New Labour, New Voicescapes 1997-2007 2 Giddensian Mediation: Voices in Writing, Representation and Actor Training 3 Migration and Materialism: David Greig, Gregory Burke, and Sounding Scottish in Post-devolutionary Voicescapes 4 Vocalising Allegiance: Kwame Kwei-Armah, Roy Williams, and Debbie Tucker Green 5 Sending Up Citizenship: Young Voices in Tanika Gupta, Mark Ravenhill and Enda Walsh 6 Women who Kill Children: Mistrusting Mothers in the work of Deborah Warner and Fiona Shaw, Beatrix Campbell and Judith Jones, and Dennis Kelly Conclusion: Betrayal and Beyond Notes Bibliography Index
What People are Saying About This
'Maggie Inchley's book is an important and timely contribution to debates about theatre's ability to speak to and for contemporary society. She offers the reader new perspectives and new methods for political theatre and its subjects.' - Kate Dorney, Victoria & Albert Museum, UK
'In an age where terms such as 'empowerment', 'diversity ' and 'plurality' are the meat and mead of the mission statement within any self-respecting theatre that takes itself seriously in promoting new writing, comes another ubiquitous term 'new voices'. Because we so unquestioningly assume an accordance with these goals (who but the churlish could disagree!) makes Maggie Inchley's Voice and New Writing, 1997-2007: Articulating the Demos, such a timely intervention. In her provocative analysis, 'voice' is not only stripped back to its original praxis and value in drama training, but in an extensive and wide ranging analysis she demonstrates how crucibles of new writing culture such as the Royal Court, the Traverse and the National Theatre actually respond to the new or marginalized voice. Inchley's book asks some difficult questions and provides some troubling answers about how, in a supposedly liberal theatre culture, the limits to which new voices are allowed to speak, how these voices are covertly policed and controlled and how all too often the ways in which the unmediated political apparatus of the voice is muzzled into paying lip-service only.' - Graham Saunders, University of Reading, UK