FOUR full-length plays and TWO previously unpublished shorts from the multi-award-winning author of Jerusalem.The collection includes: MojoThe Night HeronThe WinterlingLeavings (previously unpublished)Parlour SongThe Naked Eye (previously ...
Author: Jez Butterworth
Four full-length plays and two previously unpublished shorts from the multi-award-winning author of Jerusalem. Jez Butterworth burst onto the theatre scene aged twenty-five with Mojo, ‘one of the most dazzling Royal Court main stage debuts in years’ (Time Out). This first volume of his Collected Plays contains that play plus the three that followed, as well as two short one-person pieces published here for the first time – everything in fact that precedes Jerusalem, ‘unarguably one of the best dramas of the twenty-first century’ (Guardian). Plays One includes: Mojo The Night Heron The Winterling Leavings (previously unpublished) Parlour Song The Naked Eye (previously unpublished) Introducing the plays is an interview with Jez Butterworth specially conducted for this volume.
Butterworth, Jez. 1998. Mojo & A Film-Maker's Diary. London: Faber & Faber. Butterworth, Jez. 2009. Jerusalem. London: Nick Hern Books. Butterworth, Jez. 2011. 'Mojo'. In Plays: One. London: Nick Hern Books. Butterworth, Jez. 2011a.
Author: Sean McEvoy
Publisher: Springer Nature
Jez Butterworth is undoubtedly one of the most popular and commercially successful playwrights to have emerged in Britain in the early twenty-first century. This book, only the second so far to have been written on him, argues that the power of his most acclaimed work comes from a reinvigoration of traditional forms of tragedy expressed in a theatricalized working-class language. Butterworth’s most developed tragedies invoke myth and legend as a figurative resistance to the flat and crushing instrumentalism of contemporary British political and economic culture. In doing so they summon older, resonant narratives which are both popular and high-cultural in order to address present cultural crises in a language and in a form which possess wide appeal. Tracing the development of Butterworth’s work chronologically from Mojo (1995) to The Ferryman (2017), each chapter offers detailed critical readings of a single play, exploring how myth and legend become significant in a variety of ways to Butterworth’s presentation of cultural and personal crisis.
In Rudkin's 1974 television play Penda's Fen, the protagonist climactically summons and awakens a primal genie of the English ... from Pinter's appearance in the film version of Mojo, in the interview in Butterworth's Plays: One (2011).
Author: David Ian Rabey
Publisher: Bloomsbury Publishing
Jez Butterworth is the most critically acclaimed and commercially successful new British dramatist of the 21st century: his acclaimed play Jerusalem has had extended runs in the West End and on Broadway. This book is the first to examine Butterworth's writings for stage and film and to identify how and why his work appeals so widely and profoundly. It examines the way that he weaves suspenseful stories of eccentric outsiders, whose adventures echo widespread contemporary social anxieties, and involve surprising expressions of both violence and generosity. This book reveals how Butterworth unearths the strange forms of wildness and defiance lurking in the depths and at the edges of England: where unpredictable outbursts of humour highlight the intensity of life, and characters discover links between their haunting past and the uncertainties of the present, to create a meaningful future. Supplemented by essays from James D. Balestrieri and Elisabeth Angel-Perez, this is a clear and detailed source of reference for a new generation of theatre audiences, practitioners and directors who wish to explore the work of this seminal dramatist.
Also included here is the screenplay for the short film The Clear Road Ahead (2011), published here for the first time, and an edited transcript of a conversation between Butterworth and the playwright Simon Stephens.
Author: JEZ. BUTTERWORTH
'Come, you drunken spirits. Come, you battalions. You fields of ghosts who walk these green plains still. Come, you giants!' When Jez Butterworth's Jerusalem premiered at the Royal Court Theatre, London, in 2009, it served notice of an astonishing development in the career of a writer whose debut, Mojo, had premiered on the same stage nearly fifteen years before. Unearthing the mythic roots of contemporary English life, and featuring Mark Rylance in an indelible central performance as Johnny 'Rooster' Byron, the play transferred to the West End and then to Broadway, before returning to the West End in 2011. 'Storming... restores one's faith in the power of theatre' Independent. 'Unarguably one of the best dramas of the twenty-first century' Guardian. Jerusalem was followed by the bewitching chamber play The River (Royal Court, 2012), a 'magnetically eerie, luminously beautiful psychodrama' Time Out. 'A delicately unfolding puzzle... all of it is wrapped in marvellous language... extraordinary' The Times. This volume concludes with the multi-award-winning The Ferryman (Royal Court and West End, 2017; Broadway, 2018), an excavation of lives shattered by violence, set in a farmhouse in Northern Ireland in 1981. 'A richly absorbing and emotionally abundant play... an instant classic' Independent. 'A magnificent play that uses, brilliantly, the vitality of live theatre to express the deadly legacy of violence' Financial Times. Also included here is the screenplay for the short film The Clear Road Ahead (2011), published here for the first time, and an edited transcript of a conversation between Butterworth and the playwright Simon Stephens.
In these plays Ravenhill suggests that an obsession with selfis what happened to politics after being processed through ... Jez Butterworth's Mojo and Sarah Kane's Blasted, in which fathers are either threatening and dangerous figures, ...
Author: Mark Ravenhill
Publisher: A&C Black
"Ravenhill has more to say, and says it more refreshingly and wittily, than any other playwright of his generation" Time Out "There are few stage authors writing more interestingly than Mark Ravenhill ... He is - it is now yet more evident - a searing, intelligent, disturbing sociologist with a talent for satirical dialogue and a flair for sexual sensationalism." - Financial Times Shopping and Fucking: "is a darkly humorous play for today's twenty-somethings ... a real coup de theatre" - Nicholas de Jongh, Evening Standard Faust: "...an intelligent and witty reappropriation of the legend ... alive, pertinent and disturbing" - Michael Coveney, Observer Handbag: "...combines urban grit with sly wit, and reveals Mark Ravenhill as a writer of real daring" - Daily Telegraph Some Explicit Polaroids: "laudably ambitious, pulsates with energy ... very funny" - Financial Times
Take the phenomenon of Jez Butterworth's Jerusalem , one of the really outstanding plays of the century so far, not least because of Mark Rylance's outsize performance as Johnny 'Rooster' Byron, the alcoholic, homeless traveller defying ...
Author: Michael Coveney
Publisher: Bloomsbury Publishing
Shortlisted for the Theatre Book Prize 2021 This is the vital story of the amateur theatre as it developed from the medieval guilds to the modern theatre of Ayckbourn and Pinter, with a few mishaps and missed cues along the way. Michael Coveney – a former member of Ilford's Renegades - tells this tale with a charm and wit that will have you shouting out for an encore. This is the first account of its kind, packed with anecdote and previously unheard stories, and it shows how amateur theatre is more than a popular pastime: it has been endemic to the birth of the National Theatre, as well as a seedbed of talent and a fascinating barometer and product of the times in which we live. Some of the companies Coveney delves into – all taking centre stage in this entertaining and lively book - include the Questors and Tower Theatre in London; Birmingham's Crescent Theatre; The Little Theatre in Bolton, where Ian McKellen was a schoolboy participant; Lincolnshire's Broadbent Theatre, co-founded by Jim Broadbent's father and other conscientious objectors at the end of World War II; and Cornwall's stunning cliff-top Minack.
In Butterworth's plays, that absence resides in the landscape, in the unfathomable history of the places in which the ... 'Land of Hope and Glory: Jez Butterworth's Tragic Landscapes', Studies in Theatre and Performance, 31 (1): 61–73.
Author: Clare Wallace
Publisher: Bloomsbury Publishing
A collection of incisive investigations into the ways that 21st-century British theatre works with - and through - crisis. It pays particular attention to the way in which writers and practitioners consider the ethical and social challenges of crisis. Anchored in an interdisciplinary approach that draws from sociology, cultural theory, feminism, performance and philosophy, the book brings multi-faceted ideas into dialogue with the diverse aesthetics, practices and themes of a range of theatrical work produced in Britain since 2005. Topics discussed include: Ageing Austerity Gender Migrancy Multiculturalism Aesthetics Companies discussed include: Theatre Uncut Lost Dog Camden People's People Lung Brighton People's Theatre Phosphoros Theatre Playwrights discussed include: Jez Butterworth Caryl Churchill Tim Crouch Vivienne Franzmann James Graham debbie tucker green Ella Hickson Charlene James Lucy Kirkwood Simon Longman Cordelia Lynn Simon Stephens Jack Thorne Chris Thorpe Gloria Williams Building on recent publications in the area and engaging in dialogue with them, Crisis, Representation and Resilience considers how crisis is being re-thought and re-orientated through theatrical performance and the ways theatre invites us to respond to the many challenges of the contemporary times.
Rylance wore throughout the play, at one point he dons one with animal ears (Simonson 2011). 6. In an interview, Jez Butterworth talks of reading Henry IV Parts I and 2 after comparisons were made with Byron and Falstaff, ...
Author: Graham Saunders
This book examines British playwrights' responses to the work of Shakespeare and his contemporaries since 1945, from Tom Stoppard's Rosencrantz and Guildenstern are Dead to Sarah Kane’s Blasted and Jez Butterworth’s Jerusalem. Using the work of Julie Sanders and others working in the fields of Adaptation Studies and intertextual criticism, it argues that this relatively neglected area of drama, widely considered to be adaptation, should instead be considered as appropriation - as work that often mounts challenges to the ideologies and orthodoxies within Elizabethan and Jacobean drama, and questions the legitimacy and cultural authority of Shakespeare’s legacy. The book discusses the work of Howard Barker, Peter Barnes, Edward Bond, Howard Brenton, David Edgar, Elaine Feinstein and the Women’s Theatre Group, David Greig, Sarah Kane, Dennis Kelly, Bernard Kopps, Charles Marowitz, Julia Pascal and Arnold Wesker.