By V. Angelaki
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Experiences of Irish fiction are nonetheless scanty unlike stories of Irish poetry and drama. trying to fill a wide serious emptiness, Irish Novels 1890-1940 is a complete survey of renowned and minor fiction (mainly novels) released among 1890 and 1922, a very important interval in Irish cultural and political heritage.
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Additional resources for Contemporary British Theatre: Breaking New Ground
On the whole, time, place and character are not specified, nor are the lines of dialogue assigned to particular 16 Contemporary British Theatre speakers. 28 In the published text of Far Away (Royal Court, 2000), Churchill seems similarly haphazard in her directions for how many performers should take part in the ‘parade’ scene: ‘five is too few and twenty better than ten. ’29 Secondly, it has become increasingly common for playwrights to withdraw from offering clear authorial commentary on the action of the play.
24 At the more experimental end of playwriting, one might see the influence of Crimp and Kane in the spread of plays which present pure verbal Exit the Author 15 construct and disavow any pretence at fiction altogether. In the case of Kane’s Crave (Paines Plough, 1998), for example, we are presented with four speakers, named A, B, C and M; the play seems not to be constructing any clear or consistent diegesis. What we experience are voices from the stage rather than characters speaking within a fictional world.
2 Between those dates was David Greig’s San Diego (Edinburgh International Festival, 2003) in which a thirty-something Scottish playwright called David Greig takes his first trip to the city of the title. Greig, appropriately enough, is the narrator of his own play and in the first 9 10 Contemporary British Theatre part of it serves as our guide through the world of the play, introducing its people and places to us. However, he is soon lost in San Diego and by implication, therefore, lost in his own play.