History Plays in the twenty-first Century: New Tools for Interpreting the Contemporary Performance of the Past

TY - JOUR

T1 - History Plays in the twenty-first Century

T2 - New Tools for Interpreting the Contemporary Performance of the Past

AU - Benzie, Rebecca Amy

AU - Poore, Benjamin

N1 - © 2023 The Author(s).

PY - 2023/11/17

Y1 - 2023/11/17

N2 - New plays set in the past continue to make up a significant proportion of British theatre productions. This article argues that there is much to gain by recognising such works as ‘history plays’, deploying a broad understanding of this grouping as constituting plays that make a claim to be set in the past. We draw on a range of plays, including as case studies Moira Buffini’s Handbagged, Peter Morgan’s The Audience, and Zinnie Harris’s The Wheel, locating them in the landscape of contemporary British theatre whilst identifying tropes and conventions of representing the past that have a history of their own. Thinking inclusively about the history play also highlights the connections between how stage, screen, and Britain’s wider heritage society portray the past. Rather than another set of categories for measuring plays, this article proposes the activation of modes as a way of understanding how history is invoked in new playwriting and performance. In this theorisation, the different modes – which we name as heritage, the historical record, and creative license – become the tools through which we can consider what cultural authority is being drawn on in specific moments within a history play, addressing both playwriting and performance practice.

AB - New plays set in the past continue to make up a significant proportion of British theatre productions. This article argues that there is much to gain by recognising such works as ‘history plays’, deploying a broad understanding of this grouping as constituting plays that make a claim to be set in the past. We draw on a range of plays, including as case studies Moira Buffini’s Handbagged, Peter Morgan’s The Audience, and Zinnie Harris’s The Wheel, locating them in the landscape of contemporary British theatre whilst identifying tropes and conventions of representing the past that have a history of their own. Thinking inclusively about the history play also highlights the connections between how stage, screen, and Britain’s wider heritage society portray the past. Rather than another set of categories for measuring plays, this article proposes the activation of modes as a way of understanding how history is invoked in new playwriting and performance. In this theorisation, the different modes – which we name as heritage, the historical record, and creative license – become the tools through which we can consider what cultural authority is being drawn on in specific moments within a history play, addressing both playwriting and performance practice.

KW - playwriting

KW - heritage

KW - adaptation

KW - dramaturgy

KW - twenty-first century theatre

KW - history play

U2 - 10.1080/14682761.2023.2266205

DO - 10.1080/14682761.2023.2266205

M3 - Article

SN - 1753-6421

JO - Studies in Theatre and Performance

JF - Studies in Theatre and Performance

ER -