The first collection on this important topic, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored in contemporary theatre. Beginning with an essay by Harold Pinter, the original contributions discuss work including Harold Pinter's screenplays for The Handmaid's Tale and The Trial, Theatrical Prison Projects and Marat/Sade. Kimball King, Thomas Fahy, Rena Fraden, Tiffany Ana Lopez, Fiona Mills, Harold Pinter, Ann C. Hall, Christopher C. Hudgins, Pamela Cooper, Robert F. Gross, Claudia Barnett, Lois Gordon
Author(s): Thomas Fahy
Edition: 1
Year: 2003
Language: English
Pages: 240
Book Cover......Page 1
Title......Page 4
Contents......Page 5
General Editor's Note......Page 8
CAPTIVE AUDIENCE: AN INTRODUCTION......Page 10
THE CONFESSIONAL VOICE: MEDEA'S BRUTAL IMAGINATION......Page 18
EMOTIONAL CONTRABAND: PRISON AS METAPHOR AND MEANINGIN U.S. LATINA DRAMA......Page 34
SEEING ETHNICITY: THE IMPACT OF RACE AND CLASS ON THE CRITICAL RECEPTION OF MIGUEL PIERO'S SHORT EYES......Page 50
ON PRISONS IN THE UNITED STATES: EXTRACT FROM A SPEECH DELIVERED TO THE CONFEDERATION OF ANALYTICAL PSYCHOLOGISTS, LONDON, 25 JUNE 1999......Page 76
HAROLD PINTER'S PRISON HOUSE: THE SCREENPLAY OF KAFKA'S THE TRIAL......Page 78
HAROLD PINTER'S THE HANDMAID'S TALE: FREEDOM, PRISON, AND A HIJACKED SCRIPT......Page 90
~A WORLD OF BODIES~: PERFORMING FLESH IN MARAT/SADE......Page 118
THE DISPOSAL: WILLIAM INGE'S ABJECT DRAMA......Page 130
~IN DARK CORNERS~: MASCULINITY AND ART IN TENNESSEE WILLIAMS'S NOTABOUT NIGHTINGALES......Page 145
PHYSICAL PRISONS: NAOMI WALLACE'S DRAMA OF CAPTIVITY......Page 156
NO EXIT AND WAITING FOR GODOT: PERFORMANCES IN CONTRAST......Page 175
Contributors......Page 198
Index......Page 200
