Caryl Churchill: Difference between revisions
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Churchill's work covers many grounds. In the 1970s and 1980s, people saw her mainly as feminist-socialist playwright. Plays like ''Cloud Nine'' (1979) or ''Top Girls'' (1982) deal with gender politics and the connection between gender and the economy. But there are already plays such as ''Serious Money'' (1987) - dealing with stockbrokers and their ruthless Thatcherite greed - that do not fit the label 'feminist'. | Churchill's work covers many grounds. In the 1970s and 1980s, people saw her mainly as feminist-socialist playwright. Plays like ''Cloud Nine'' (1979) or ''Top Girls'' (1982) deal with gender politics and the connection between gender and the economy. But there are already plays such as ''Serious Money'' (1987) - dealing with stockbrokers and their ruthless Thatcherite greed - that do not fit the label 'feminist'. | ||
In the 1990s, the style of the plays develops from more or less Brechtian to postdramatic. Topics range from totalitarianism and post-humanism in ''Far Away'' (2000), | In the 1990s, the style of the plays develops from more or less Brechtian to postdramatic. Topics range from totalitarianism and post-humanism in ''Far Away'' (2000), cloning and identity in ''A Number'' (2002) to dystopia and post-apocalypse with choral singing in ''Escaped Alone'' (2016). | ||
Churchill does not like giving interviews and does not attend theatre conferences. She also does not have a homepage. | Churchill does not like giving interviews and does not attend theatre conferences. She also does not have a homepage. | ||
Latest revision as of 18:22, 8 December 2021
Born 1938. British dramatist. Probably one of the most important contemporary ones.
Churchill's work covers many grounds. In the 1970s and 1980s, people saw her mainly as feminist-socialist playwright. Plays like Cloud Nine (1979) or Top Girls (1982) deal with gender politics and the connection between gender and the economy. But there are already plays such as Serious Money (1987) - dealing with stockbrokers and their ruthless Thatcherite greed - that do not fit the label 'feminist'.
In the 1990s, the style of the plays develops from more or less Brechtian to postdramatic. Topics range from totalitarianism and post-humanism in Far Away (2000), cloning and identity in A Number (2002) to dystopia and post-apocalypse with choral singing in Escaped Alone (2016).
Churchill does not like giving interviews and does not attend theatre conferences. She also does not have a homepage.
Further reading:
[ https://literature.britishcouncil.org/writer/caryl-churchill]