Description
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
Table of Contents
Contents General Editor's Note Captive Audience: An Introduction Part I 1. The Confessional Voice: Medea's Brutal Imagination 2. Emotional Contraband: Prison as Metaphor and Meaning in U.S. Latina Drama 3. Seeing Ethnicity: The Impact of Race and Class on the Critical Reception of Miguel Piñero's Short Eyes Part II 4. On Prisons in the United States 5. Harold Pinter's Prison House: The Screenplay of Kafka's The Trial 6. Harold Pinter's The Handmaid's Tale : Freedom, Prison, and a Highjacked Script 7. A World of Bodies: Performing Flesh in Marat/Sade 8. The Disposal : William Inge's Abject Drama 9. In Dark Corners: Masculinity and Art in Tennessee Williams's Not about Nightingales 10. Physical Prisons: Naomi Wallace's Drama of Captivity 11. No Exit and Waiting for Godot : Performances in Contrast Contributors
