By Alan Bennett
This moment quantity of performs by way of Alan Bennett comprises his Kafka performs, one an hilarious comedy, the opposite a profound and looking drama. additionally incorporated is An Englishman out of the country and a query of Attribution. The fascination of those performs lies within the means they query our authorised notions of treachery and, in numerous methods, make a sympathetic case for man Burgess and Anthony Blunt.
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Extra resources for Alan Bennett: Plays 2
They shall please yet better after you have troubled your eyes a little with the view of deformities; and by how much more they please, so much more odious and like themselves shall these deformities appear. This light contraries give to each other in the midst of their enmity, that one makes the other seem more good or ill” (The Works of the Right Reverend Joseph Hall, ed. Philip Wynter [1863; New York: AMS Press, 1969], VI, 106). 54 The Theatre of Civilized Excess you that in a painted table which poor Christians felt would be a spectacle of too much horror.
46 The confession is a talking cure that is as seductive as it is salutary, providing a framework within which extreme emotions can be explored, exploited and thereby legitimized. Within the context of the professional early modern stages it would have been an attractive and highly marketable dramatic strategy whose duplicity allowed playwrights to cater to the audiences’ excessive urges while at the same time warding them off. In the case of Fletcher’s Valentinian, this confessional structure has wide-ranging effects on the way we view the play as a whole, notably its underlying misogynist antithesis.
J. B. Steane (1972; Harmondsworth: Penguin, 1985), 14. 87 Crewe, “Hegemonic Theatre”, 84. 88 See Heinrich F. Plett, Rhetorik der Affekte: Englische Wirkungsästhetik im Zeitalter der Renaissance (Tübingen: Niemeyer, 1975), 29 and Brian Vickers, In Defence of Rhetoric (Oxford: Clarendon Press, 1988), 270. 89 Neil Rhodes, The Power of Eloquence and English Renaissance Literature (Hemel Hempstead: Harvester Wheatsheaf, 1992), 138. 90 Distinctions were made, usually along gender lines, between good and bad emotions, between sinful and righteous anger,91 and while affect was not exactly celebrated, there was increasing space for the exploration of the human affective potential in the name of rhetorical persuasion.
Alan Bennett: Plays 2 by Alan Bennett