By Dan Rebellato

It really is stated that British Drama was once shockingly lifted out of the doldrums by way of the 'revolutionary' visual appeal of John Osborne's glance again in Anger on the Royal courtroom in may perhaps 1956. yet had the theatre been as ephemeral and effeminate because the indignant younger males claimed? used to be the period of Terence Rattigan and 'Binkie' Beaumont as repressed and closeted because it turns out? during this daring and engaging problem to the got knowledge of the final 40 years of theatrical heritage, Dan Rebellato uncovers a special tale altogether. it truly is one the place Britain's declining Empire and lengthening panic over the 'problem' of homosexuality performed an important function within the development of a permanent delusion of the theatre. by means of going again to basic resources and conscientiously wondering all assumptions, Rebellato has rewritten the heritage of the Making of recent British Drama.

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Extra info for 1956 and All That: The Making of Modern British Drama

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Williams argued, against Eliot, that the health of the literary culture was dependent on the health of the common culture. And, as we have seen, he expanded this to suggest that the decline of community feeling will have damaging consequences for communication, humanity, our very existence. A healthy common culture may sustain the holism of the literary tradition, but contemporary culture threatens to tear it apart. This is hard to square with his emphasis on intention. In a fragmented culture, all utterance, sincere or not, appears soulless and divided.

Austin states that he is going to exclude from his concerns insincere, non-serious speech acts, since he regards this use of language as ‘parasitic upon its usual use’ (1980, 22). He gives as examples of non-serious use words spoken in a poem, and, interestingly, on stage. However, the distinction between serious and non-serious use, like Williams’s between the source and the agent, hangs on the intention of the utterance. Words spoken on stage are not really meant by the actor, and are, hence, not seriously uttered.

The force of Derrida’s deconstructive reading begins to emerge when he observes that this has some curious knock-on effects for another part of Austin’s argument. Austin states that he is going to exclude from his concerns insincere, non-serious speech acts, since he regards this use of language as ‘parasitic upon its usual use’ (1980, 22). He gives as examples of non-serious use words spoken in a poem, and, interestingly, on stage. However, the distinction between serious and non-serious use, like Williams’s between the source and the agent, hangs on the intention of the utterance.

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