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Strathoykel, Sutherland. "When the Sheriff and his men arrived, the women were on the road and the men behind the walls. The women shouted 'Better to die here than America or the Cape of Good Hope'. The first blow was struck by a woman with a stick. The gentry leant out of their saddles and beat at the women's heads with their crops." (John McGrath)
Strathoykel, Sutherland. "When the Sheriff and his men arrived, the women were on the road and the men behind the walls. The women shouted 'Better to die here than America or the Cape of Good Hope'. The first blow was struck by a woman with a stick. The gentry leant out of their saddles and beat at the women's heads with their crops." (John McGrath)
John McGrath spent his whole life campaigning for a popular theatre that was politically engaged, entertaining and relevant. His campaign took many forms, as a writer, director, and producer. Most famously he formed 7:84, a company named after the statistic that 7 per cent of the population of Britain owns 84 per cent of the nation's weath. He wrote and directed over sixty palys including The Cheviot, The Stag and the Black, Black Oil and Border Warfare. He died from leukaemia in January 2002.
Inhaltsangabe
John McGrath: Politics, Aesthetics and Biography; Plot; Commentary; Context: McGrath's Theatre for Community; Influences: from Brecht to Music Hall; Theatre Without Walls: 7:84 to NTS; The Cheviot as a "World" Play; Issues: Land, Development and the Highlands; Imperialism, Nationalism and "Devolutionary-Britain"; Language and Clearance: Peripheralising Culture; The Cheviot: From Peasant to Petro-Drama; Structure; The Ceilidh as Dramatic Form: Reeling and Repetition; Comedy, Pantomime and Political Satire ; Production and Audience; "Live" History: Chronology and Capitalist; Modernity; Conclusion: A Play for Today?; References; Further Reading; The Cheviot, the Stag and the Black, Black Oil; Notes; Questions for Further Study.
John McGrath: Politics, Aesthetics and Biography; Plot; Commentary; Context: McGrath's Theatre for Community; Influences: from Brecht to Music Hall; Theatre Without Walls: 7:84 to NTS; The Cheviot as a "World" Play; Issues: Land, Development and the Highlands; Imperialism, Nationalism and "Devolutionary-Britain"; Language and Clearance: Peripheralising Culture; The Cheviot: From Peasant to Petro-Drama; Structure; The Ceilidh as Dramatic Form: Reeling and Repetition; Comedy, Pantomime and Political Satire ; Production and Audience; "Live" History: Chronology and Capitalist; Modernity; Conclusion: A Play for Today?; References; Further Reading; The Cheviot, the Stag and the Black, Black Oil; Notes; Questions for Further Study.
Rezensionen
[McGrath] was Britain's Brecht, Scotland's Dario Fo . . . A creative powerhouse who was often out of fashion, but never out of action . . . Today, few speak, far less make theatre, with such ideological intent. Guardian
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