Catriona Fallow (editor) - Harold Pinter: Stages, Networks, Collaborations

Harold Pinter

Methuen Drama Engage offers original reflections about key practitioners, movements and genres in the fields of modern theatre and performance. Each volume in the series seeks to challenge mainstream critical thought through original and interdisciplinary perspectives on the body of work under examination. By questioning existing critical paradigms, it is hoped that each volume will open up fresh approaches and suggest avenues for further exploration.

Series Editors

Mark Taylor-Batty

University of Leeds, UK

Enoch Brater

University of Michigan, USA

Titles

Brecht and Post-1990s British Drama

Anja Hartl

ISBN 978-1-3501-7278-4

Drag Histories, Herstories and Hairstories: Drag in a Changing Scene Volume 2

Edited by Mark Edward and Stephen Farrier

ISBN 978-1-3501-0436-5

Contemporary Drag Practices and Performers: Drag in a Changing Scene

Volume 1

Edited by Mark Edward and Stephen Farrier

ISBN 978-1-3500-8294-6

Performing the Unstageable: Success, Imagination, Failure

Karen Quigley

ISBN 978-1-3500-5545-2

Drama and Digital Arts Cultures

David Cameron, Michael Anderson and Rebecca Wotzko

ISBN 978-1472-592194

Social and Political Theatre in 21st-Century Britain: Staging Crisis

Vicky Angelaki

ISBN 978-1474-213165

Watching War on the Twenty-First-Century Stage: Spectacles of Conflict

Clare Finburgh

ISBN 978-1-472-59866-0

Fiery Temporalities in Theatre and Performance: The Initiation of History

Maurya Wickstrom

ISBN 978-1-4742-8169-0

For a complete listing, please visit

https://www.bloomsbury.com/series/methuen-drama-engage/

Harold Pinter

Stages, Networks, Collaborations

Edited by Basil Chiasson and Catriona Fallow

Series Editors:
Mark Taylor-Batty and Enoch Brater

Contents

Maria Elena Capitani teaches at the University of Parma, Italy, and was a visiting scholar at the Universities of Barcelona, Spain and Reading, UK, for 2014 and 2015. Her research interests are in twentieth- and twenty-first-century British literature and culture, with a special focus on drama, fiction, intertextuality, identity and translation for the stage. She has presented at international conferences across Europe and has published articles on contemporary British dramatists such as Martin Crimp, Sarah Kane, Tony Harrison, David Greig and Liz Lochhead. She is currently working on her first monograph, provisionally entitled Contemporary British Appropriations of Greek and Roman Tragedies: The Politics of Rewriting.

Basil Chiasson is Assistant Professor in the Faculty of Information and Media Studies and the Creative Arts Program at Western University, Canada. His publications on Harold Pinter include articles, book chapters, book reviews and one monograph, The Late Harold Pinter: Political Dramatist, Poet and Activist (2017). Other research and publications include articles and book chapters on neoliberalism and performance in contemporary British drama. From 2017 to 2019 he was a Research Fellow on the Arts and Humanities Research Council-funded project, Harold Pinter: Histories and Legacies, where he worked on an open-access database which captures the British production history of Pinters works for stage, screen and radio.

Harry Derbyshire is Principal Lecturer in English Literature and Drama at the University of Greenwich, UK. His doctoral thesis, completed in 2000 at Kings College, London, was entitled Harold Pinter: Production, Reception, Reputation 19841999. He has since published on Pinter as celebrity, Pinter and style, Pinter and London, and the reception of Pinters Moonlight; in other work he has considered theatre and human rights and the work of Edward Bond, Caryl Churchill, debbie tucker green, Arnold Wesker and Roy Williams. He is currently working on a history of the Theatre of the Absurd on the British stage.

Catriona Fallow is Lecturer in Drama, Theatre and Performance Studies in the Department of Drama at Queen Mary University of London, UK. Between 2017 and 2019 she was a Research Fellow on the Arts and Humanities Research Council-funded project, Harold Pinter: Histories and Legacies, based at the University of Birmingham. She is currently contributing to collections on the #MeToo movement (Performing #MeToo: How Not to Look Away, 2021) and the playwright Dennis Kelly (2021). Catrionas work has been published in Studies in Theatre and Performance and presented at various conferences and symposia nationally and internationally.

James Hudson is Lecturer in Drama at the University of Lincoln, UK. He has published on Edward Bond, Sarah Kane, David Greig and Howard Barker. He is currently conducting research on Simon Stephens, the British Councils support for touring drama and the relationship between theatre and right-wing politics. He wrote the programme note for the Derby Theatre production of Pinters Betrayal. His special issue on performance and the right is forthcoming in Studies of Theatre and Performance (2021) and he is currently working on a monograph on populism, right-wing politics and British drama.

David Pattie is Senior Lecturer in Drama and Theatre Arts at the University of Birmingham, UK. He researches and publishes in a number of fields including contemporary British theatre, Scottish theatre, Samuel Beckett, popular performance and performance in popular music. His publications include Modern British Playwriting the 1950s: Voices, Documents, New Interpretations (2012), Rock Music and Performance (2007) and Samuel Beckett (2004) as well as edited collections on Kraftwerk and Brian Eno and numerous journal articles.

Eckart Voigts is Professor of English Literature at TU Braunschweig, Germany. He has written, edited and co-edited numerous books and articles, such as Reflecting on Darwin (2014), Dystopia, Science Fiction, Post-Apocalypse (2015) and The Routledge Companion to Adaptation (2018). He was President of the German Society for Theatre and Drama in English (CDE) from 2010 to 2016 and serves on the board of numerous journals. As a member of the research group Cultures of Participation (Oldenburg), between 2016 and 2019 he led a research project on British-Jewish Theatre (VW Foundation) with Jeanette Malkin. He is co-editor of A Companion to British-Jewish Theatre since the 1950s, for Methuen Dramas Engage series.

Steve Waters is a playwright and Professor of Scriptwriting in the School of Literature, Drama and Creative Writing at the University of East Anglia, UK. His recent works include Limehouse (2017), Temple (2015) and World Music (2004) at the Donmar Warehouse. Other works include Why Cant We Live Together? (Menagerie Theatre Company/UK Tour/Soho Theatre/Theatre 503), Europa, co-authored (Birmingham Rep/Dresden Staatspielhouse/Teater Polski/Zagreb Youth Theatre), Ignorance/Jahiliyyah, English Journeys and After the Gods (Hampstead), Capernaum in Sixty-Six Books, Little Platoons, The Contingency Plan and In a Vulnerable Place (Bush), Fast Labour (Hampstead/West Yorkshire Playhouse) and Habitats (Gate and Tron Theatre Glasgow). Steve has also written extensively for radio and screen and is the author of The Secret Life of Plays (2010).

Alex Watson is a Visiting Lecturer and PhD candidate at Royal Holloway, University of London, UK. His research primarily explores 2010s British theatre and the concepts of violence and performativity. He has presented at various national and international conferences on topics including issues of protest, environmental damage, neoliberalism, European-British identities and gendered and racial violence. He is currently the book and performance reviews editor for