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- W2799806384 abstract "Caryl Churchill’s plays are like a highly sensitive barometer of knotty problems that beset a modern man, be it most recently human cloning in A Number (2004) or the history of Israel in Seven Jewish Children (2009). Her political commitment makes her give voice to the ones whose voices have been deliberately silenced: the vulnerable, the victimized and the powerless. Yet the playwright’s creative imagination conjures up the worlds that thrive on theatrical experimentation and are permeated with a sense of ambiguity. As such, the construction of the dramatic worlds complicates the formulation of definitive judgments and dismisses the possibility of easy solutions. However, despite her aversion to simple polemics, the dramatic worlds Churchill creates wield enormous power over her audiences and leave them in a state of heightened awareness. Therefore, the aim of this article is to analyze the construction of the dramatic worlds in Caryl Churchill’s The Skriker (1994) and Far Away (2000); it focuses on the ways in which Caryl Churchill interconnects the structure of the time and space continuums that she designs with the exploration of the moral and environmental implications of human action. Although the plays share the dystopian vision of ecological destruction and global conflict, Churchill, in her ingenious inventiveness, conjures up distinctly different worlds to make her prophesies. In both plays the realities Churchill creates are so compelling and evocative that a dire warning they sound must not be ignored." @default.
- W2799806384 created "2018-05-17" @default.
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- W2799806384 date "2017-04-03" @default.
- W2799806384 modified "2023-09-23" @default.
- W2799806384 title "“Up in the War Zone Ozone Zany Grey”: Caryl Churchill’s Theatrical Landscapes of Terror, Pain and Ecological Destruction" @default.
- W2799806384 doi "https://doi.org/10.26262/gramma.v24i0.6126" @default.
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