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In-yer-face Theatre: British Drama Today

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The sanitized phrase 'in-your-face' is defined by the New Oxford English Dictionary (1998) as something 'blatantly aggressive or provocative, impossible to ignore or avoid'. The Collins English Dictionary (1998) adds the adjective 'confrontational'. 'In-your-face' originated in American sports journalism during the mid-1970s as an exclamation of derision or contempt, and gradually seeped into more mainstream slang during the late 1980s and 1990s, meaning 'aggressive, provocative, brash'. It implies being forced to see something close up, having your personal space invaded. It suggests the crossing of normal boundaries. [3]

Quoting from an interview with Elaine Aston, in Caryl Churchill (Plymouth: Northcote House Publishers, 1997) 5. STR Events: February 2010 Lecture". str.org.uk. Archived from the original on 4 March 2016 . Retrieved 31 May 2017. Sierz, Aleks (March 2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. pp.42–43. ISBN 0-571-20049-4. Ansorge, Peter (1999). "Really a Golden Age?". In Edgar, David (ed.). State of Play. Faber and Faber Limited. pp.37–38. ISBN 0-571-20096-6.Towards the end on the 1990s there were declining numbers of new in-yer-face plays being performed in Britain.

Sierz, Aleks (24 May 2012). Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations. Great Britain: Methuen Drama. p.82-84. ISBN 9781408181331. a b c d Sierz, Aleks. "New writing in British theatre today (1998)". inyerfacetheatre . Retrieved 12 November 2020. Sierz also states that the murder "resulted in calls for the censorship of films, of television and of art works" [18] because "in 1994 the judge in the boys' trial explained the murder by speculating that they had been exposed to a violent video, ' Child's Play 3', this created a media storm which, I would argue, is the cultural context for the media uproar over Blasted". [6] Stephen Daldry at The Royal Court Theatre [ edit ] Funnily enough, in-yer-face theatre constitutes less of a rigid stylistic movement, and more of a cultural trend in 1990s Britain that saw the prevalence of similar works being produced at once. Some critics point to cultural events such as the AIDS epidemic or the aftermath of the Thatcher Era to explain the emergence of such anger in the art being made. a b c d " In-Yer-Face? British Drama in the 1990s", University of the West of England, Bristol, 6–7 September 2002, Writernet 2003. Retrieved 9 June 2008. (Conference report posted on writernet.co.uk, in both HTML and PDF versions).

a b Sierz, Aleks (2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. pp.38–39. ISBN 978-0-571-20049-8 . Retrieved 12 November 2020. Writernet adds: "This problem was reflected in number of papers from all over the world, which primarily explored the works of Sarah Kane and Mark Ravenhill through theoretical lenses of postmodernism, metaphysical theatre, Artaud's Theatre of Cruelty, and Lacan. Through no fault of the organizers – this was apparently an accurate reflection of the conference submissions." [50] In-yer-face theatre is a term used to describe a confrontational style and sensibility of drama that emerged in Great Britain in the 1990s. This term was borrowed by British theatre critic Aleks Sierz as the title of his book, In-Yer-Face Theatre: British Drama Today, first published by Faber and Faber in March 2001. [1]

Sierz, Aleks (March 2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. p.36. ISBN 0-571-20049-4. Finally, it’s time for a publisher to spread the word. About a month after Neilson’s interview, Ian Herbert, critic and editor of Theatre Record, gave the expression “in-yer-face theatre” an enormous new lease of life, plugging several different variations of it in his ‘Prompt Corner’ column in Theatre Record. Happily, he chose the more direct “in-yer-face” formulation over the more staid “in-your-face”. His first foray was published in January 1996: “Last year’s in-yer-face theatre gets the welcome addition of in-yer-heart emotional commitment.” In the next issue, Herbert was talking again about “in-yer-face playwrights” and, anticipating critic David Nathan’s comment on Kane’s Phaedra’s Love, he also wrote: “it’s vital, engaged work, going on in tiny spaces where the actors are as likely to be in your lap as in yer face”. Even at an early stage, this style of experiential theatre was associated with small studio spaces. In March, Herbert was taking a historical perspective on the new young Turks, or — to give one of his preferred formulations — the “in-yer-face school”, commenting that veteran playwright Bill Morrison “was doing in-yer-face a decade or more ago”. a b c d e f g h Aleks Sierz, "Still In-Yer-Face? Towards a Critique and a Summation", New Theatre Quart. 18.1 (2002): 17–24; published online by Cambridge University Press, journals.cambridge.org. Retrieved 9 June 2008. In-Yer-Face? British Drama in the 1990s". University of the West of England, Bristol. 6–7 September 2002, Writernet 2003. Retrieved 9 June 2008. (Conference report posted on writernet.co.uk, in both HTML and PDF versions). Spencer, Charles (14 April 2006). "That kitchen sinking feeling". The Telegraph. Archived from the original on 23 May 2009 . Retrieved 29 March 2021.In the 1990s, a revolution took place in British theatre. Out went all those boring politically correct plays with tiny casts portraying self-pitying victims; overthrown were all those pale imitations of European directors’ theatre; brushed aside were all those shreds of self-regarding physical theatre and long-winded, baggy state-of-the-nation plays. a b Sierz, Aleks (24 May 2012). Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations. Great Britain: Methuen Drama. p.55. ISBN 9781408181331. Sierz, Aleks (March 2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. pp.181–186. ISBN 0-571-20049-4.

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