Titlebook: Contemporary Gothic Drama; Attraction, Consumma Kelly Jones,Benjamin Poore,Robert Dean Book 2018 The Editor(s) (if applicable) and The Auth

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Introduction, theatre culture. With reference to a series of plays that engage with ideas of national identity, such as the recent stagings of DC Moore’s . (2017) and Mike Bartlett’s . (2017), this essay argues that there is a timeliness to a study of how contemporary theatre has come to use the properties, them

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oblique

Death, Decay and Domesticity: The Corpse as Pivotal Stage Presence in Howard Barker’s alyses the three themes of paternity, sexuality and taboo in relation to the corpse as central stage object in the play text and in production by The Wrestling School company. The chapter places Barker’s work in relation to a long tradition of these, and other prominent Gothic themes and related ima

Grandstand

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泄露

Uncanny Audio: The Place and Use of Sound in Gothic Performanceout theatre history, pioneering developments in audio technology have found an affinity with the uncanny. The audiences of Greek plays, Renaissance drama, nineteenth-century stage illusions and melodrama or the Théatre du Grand-Guignol had their moods manipulated by efficacious sound effects and mus

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-,: Gothic Fan Cultures and Intertextual Othernesse of “Phans” to extend the production’s central theme of obsession beyond the auditorium walls and into their intertextual fan practices. That said, such responses stem from a narrative which is ultimately about fandom itself (where the Phantom’s obsession with Christine causes him to haunt, and eve

大喘氣

‘I Hate This Job’: Guiding Ripper Tours in the East Endcently experienced a rapid proliferation of thanatourism in the form of Ripper tours and a Ripper ‘museum’. This essay offers a survey and account of this Ripper tourism. Its central concern is with the Ripper tours, which it considers as street theatre. The essay looks at the narrative and performa

REIGN

The Forgotten Dead: Performance, Memory and Sites of Mourning at Cross Bones Graveyardraveyard in Southwark, London, as a case study of contemporary Gothic performance. As a contemporary unofficial shrine, the graveyard is invested with symbolic and political nuances, which has been co-opted by campaigners (including writers such as John Constable, and the International Union of Sex