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"Ravenhill, Mark"
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The new collection of plays from leading British dramatist mark Ravenhill. It draws together six plays including 'Shoot/Get Treasure/Repeat', a dramatic cycle that is, in its way, epic, but splintered into many small shards.
Book
Modern British Playwriting: The 1990s
British theatre of the 1990s witnessed an explosion of new talent and presented a new sensibility that sent shockwaves through audiences and critics. What produced this change, the context from which the work emerged, the main playwrights and plays, and the influence they had on later work are freshly evaluated in this important new study in Methuen Drama's Decades of Modern British Playwriting series. The 1990s volume provides a detailed study by four scholars of the work of four of the major playwrights who emerged and had a significant impact on British theatre: Sarah Kane (by Catherine Rees), Anthony Neilson (Patricia Reid), Mark Ravenhill (Graham Saunders) and Philip Ridley (Aleks Sierz). Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twenty-first century. This is an authoritative and stimulating reassessment of British playwriting in the 1990s.
eBook
A Tear in the Fabric: the James Bulger Murder and New Theatre Writing in the 'Nineties
It is not yet ten years since Mark Ravenhill's Shopping and Fucking reached the stage of the Royal Court, during its West End exile in 1996; yet the play has already become, with Sarah Kane's Blasted, identified as central to the emergence of so-called ‘in-yer-face’ theatre. While Mark Ravenhill recognized the influence of such writers as Martin Crimp and David Mamet, it was only recently, during a discussion over coffee about a possible screenplay, that he began to consider the effects of both private and public events of 1993 upon his emergence as a writer – the death of a partner, and the infamous murder of a child by other children. In the following article he identifies recurrent concerns in his first three plays which he now sees as a working-out of his responses to a year which was crucial not only to his own personal narrative, but to others for whom the James Bulger murder epitomized all the worst aspects of a society that the Thatcherites claimed no longer to exist. Among Mark Ravenhill's more recent plays have been Mother Clap's Molly House, which transferred from the National Theatre to the Aldwych in 2002, and Totally Over You, written for the 2003 Shell Connections youth theatre season at the National. This article was first presented as the Marjorie Francis Lecture at Goldsmiths' College, University of London, on 5 May 2004.
Journal Article
A Tear in the Fabric: The James Bulgur Murder and New Theatre Writing in the Nineties
First presented as the Marjorie Francis Lecture, Goldsmith's University, London, 5 May 2004. Set mainly in a school, it tells the story of a teenage boy, and in a series of almost dream like imagistic scenes, takes him through casual drug dealing at school, terrible acts of violence against other kids, the death of his Dad, and making love and sharing heroin with his mother. To the anxiety about our homes, our low mortgage rates, our low taxes that had meant in the previous two general elections a significant proportion of the population had operated on Double-Think: ticking the Conservative box in the polling booth and emerging only minutes to tell the exit pollsters that, yes, they had voted Labour. In Handbag, Phil snatches a handbag from a woman in a shopping centre beneath the watching eyes of the cameras and, later, Phil and Lorraine have to arrange the kidnapping of the baby beneath the eyes of the cameras that Mauretta and Lorraine have now installed inside their home to keep an eye on their nanny.
Journal Article
The best of all possible tweets
When Mark Ravenhill decided to write a response to Voltaire's classic satire Candide, he turned to social media for help. He explains why the rampant optimism he found there scares him. (Quotes from original text)
Journal Article