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I. La représentation de la royauté anglaise au théâtre : Shakespeare
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Green, eds. Szmurlo, ed. Wouters also edited the volumes, and added the life of Garrick. Wouters' main undertaking contains some of the most important theatre pieces of English literature. Traduction du Plutarque anglois, contenant la vie des hommes les plus illustres de l'Angleterre et de l'Irlande. Place: Paris Pub.
Original title: Miscellanea Publ. Britain is a welcoming country. One is British if one recognizes the Queen.
The model of integration is based on accepting differences and not on wiping them off. Is the concept of nation compatible with that of the new, therefore supranationalist, Europe? Has European supranationalism defeated the traditional sovereignist conception upheld in the UK? Has the national British citizen collapsed in front of the universal post-national individual? All these questions, addressed by sociologists, politologists and philosophers such as Habermas 1 are very much present in the representation that a country gives of itself through its artistic production.
The threat of the disappearing nation has shaped and reshaped political drama at the beginning of this new millenium. The nation is therefore oxymoronically de-constructed. In other words, the nation, whether symptomatically debunked or methodically attacked seems to be a die-hard concept. The play ends with an orgasmic speech that expresses the bliss of taboo-breaking:. So I run back. The proletariat must constitute itself as a nation, not in the bourgeois meaning of the word, but as an international nation, so to speak.
When will I fall down? Mistakes… mistakes… was anything done? He takes another tablet. Years waiting… fed… washing the dead… was anything done? Was anything done? He looks at a tablet in his hand. Dead sugar. He swallows it. These icons no longer buttress, let alone uphold, the national feeling. Yet, here again, and despite post-Brechtian distancing, the dominant discourse at work in these plays is critical, most of the time satirical and satire is ideologically nation-prone: one builds the nation by the deconstruction of the nation.
In the s, verbatim theatre emerges as one of the most interesting attempts at regenerating political theatre. Verbatim consists in going beyond the concept of political representation considered obsolete because forever insufficiently representative and in voicing the people in the street. The words of real people are recorded or transcribed by a dramatist during an interview or research process, or are appropriated from existing records such as the transcripts of an official enquiry.
They are then edited, arranged or recontextualised to form a dramatic presentation, in which actors take on the characters of the real individuals whose words are being used. In this sense, verbatim is not a form, it is a technique; it is a means rather than an end. The Permanent Way reads as a parable of national decline, epitomized or metaphorized by the story of this national mismanagement.
Deconstructing the nation? British Theatre in the Age of Postmodernism
Incidents covered in the play include the passing of the Railways Act setting out the structure of rail privatization, and the survival and bereavement stories resulting from the rail crashes of Southall, Ladbroke Grove, Hatfield, and Potters Bar. The play is based on numerous interviews with the people who were involved in these rail crashes and on the opinions heard and collected in trains by Hare.
All these verbatim dialogues are collated with very little linking or bridging narrative added:. Passenger 2: This is what I feel. Every day, everywhere.
Everyone wants it to work. They have an idea what it might be like if it worked. People are told all the time they have to change their ways. Why not? Passenger 1: The most basic thing you want to do anywhere is move.
LMI Cefirse / IRD - LMI Cefirse
Because the Labour government does everything except address the fucking problem. They did everything except address the fucking problem. They did everything except the one fucking thing they need to do. Because they might get a bad review in the Daily Mail.
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I mean, think about that. Just think about it. Passenger 1: Why can the French do it? But the French can run a railway. Passenger 5: Man next to me, next door neighbour in Oxfordshire, works for Warburgs, lovely house.
So: Warburgs are the bank who handled the privatisation of the railways. Just take it. The only thing he talks about?
CFP: Balzac and England (Maison Française d’Oxford)
Going there, coming back. His sole topic of conversation? The state of the railways. Passenger 4: I mean, take London, what about London? The whole thing about London. Ought to be a beautiful city? Why not.
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