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- W2036542771 abstract "The landmarks in contemporary English drama have been more like landmines, shattering conventional expectations, with a whole new configuration of subjects and themes emerging on the stage each time after the dust of public outrage settled. What Look Back in Anger had done for the fifties, Saved did for the sixties, and a play like The Romans in Britain may yet do for the eighties (though Howard Brenton's play seems to lack the qualities that might give its shock effects the same resonance). Like Osborne, Edward Bond achieved immediate prominence through the controversy surrounding his first play to be given a full production, when the Lord Chamberlain tried to throw a baby out with the bath-water. But where Osborne quickly became accepted - partly because his approach was relatively simple and consistent, partly because his plays were recognizably traditional in shape, despite his use of diatribe which shifted dramatic conflict from its conventional locus between characters within the play to a point between his protagonists and the audience - there is still little consensus about Bond." @default.
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- W2036542771 date "1982-06-01" @default.
- W2036542771 modified "2023-09-27" @default.
- W2036542771 title "The Political Spectrum of Edward Bond: From Rationalism to Rhapsody" @default.
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- W2036542771 doi "https://doi.org/10.3138/md.25.2.189" @default.
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