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

CREST

Playing in the Dark: Possession and Performanceold girl appeared to speak with the voice of a dead old man. It will explore the renderings of possession which this performance resonated with (i.e. ., .) and those it gave rise to (i.e. ., .). The material considered connects the Enfield Poltergeist with the theatricality of nineteenth-century séa

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Staging the Séance: The Spirit Medium and the Gothic in Modern Theatreow this often involves allusions to the performance conditions and contexts of spiritualism’s nineteenth-century heyday. In the last few years, the depiction of the séance has begun to move away from Gothic narratives of encounters with an unnameable evil, and back towards the séance’s show-business

繼而發(fā)生

Writing the Ghost—An Interview with Playwright Michael Punter the Theatre Royal Bury St Edmunds in 2012. His ghost play for children, ., was produced by Pop-Up Theatre in 2002 and toured the UK thereafter. Michael is Director of Theatre Education for CAPA, The Global Education Network, based in London. His academic research has focused on the career of Henry

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聽寫

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Urbanization and Environmental Qualitye and to tap into a more unnerving depiction of violence and extremes of the theatrical grotesque. This chapter seeks to explore the discomforting effect of the ‘little stories’ within the play’s narrative from a postmodern perspective. In exploring the horror of these ‘little stories’, McDonagh is