Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Representation of Violence and Trauma in Contemporary Monologues

Representation of Violence and Trauma in Contemporary Monologues Prague Journal of English Studies Volume 2, No. 1, 2013 ISSN: 1804-8722 Hana Pavelková Contrary to the rapid frenzied dialogues and confrontational brutal physical scenes showing acute pain in the "in-yer-face" theatre of the 1990s, contemporary political dramas very o en opt for a purely verbal, verbatim, evocation of violence. is paper focuses on the representation of violence and the ensuing trauma specifically in plays that use a monologue format. e range of contemporary monologues is demonstrated firstly by analysing the media-popular, political awareness-raising, straightforward personal narratives of the documentary monologue My Name is Rachel Corrie (eds. Alan Rickman and Katharine Viner, 2005) and Eve Ensler's e Vagina Monologues (1998), to the much more complex and audience challenging Nine Parts of Desire (2003) by Heather Raffo, and Doug Wright's Pulitzer Prize winning monodrama I Am My Own Wife (2004) which questions the reliability of its monologist and examines also the limits of the theatrical monologue as a means of communicating trauma via verbal representation of violence. Cannibalism, masturbation, rape, bodily mutilations, defecation, disembowelment, oceans of blood and non-stop swearing ­ that was British theatre in 1990s London ­ "in-yer-face" theatre. In the new millennium, however, especially a er http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Prague Journal of English Studies de Gruyter

Representation of Violence and Trauma in Contemporary Monologues

Pavelková, Hana
Prague Journal of English Studies , Volume 2 (1) – Dec 1, 2013
Download PDF
11 pages

Loading next page...
 
/lp/de-gruyter/representation-of-violence-and-trauma-in-contemporary-monologues-PdNJlenazM
Publisher
de Gruyter
Copyright
Copyright © 2013 by the
ISSN
2336-2685
eISSN
2336-2685
DOI
10.2478/pjes-2014-0009
Publisher site
See Article on Publisher Site

Abstract

Prague Journal of English Studies Volume 2, No. 1, 2013 ISSN: 1804-8722 Hana Pavelková Contrary to the rapid frenzied dialogues and confrontational brutal physical scenes showing acute pain in the "in-yer-face" theatre of the 1990s, contemporary political dramas very o en opt for a purely verbal, verbatim, evocation of violence. is paper focuses on the representation of violence and the ensuing trauma specifically in plays that use a monologue format. e range of contemporary monologues is demonstrated firstly by analysing the media-popular, political awareness-raising, straightforward personal narratives of the documentary monologue My Name is Rachel Corrie (eds. Alan Rickman and Katharine Viner, 2005) and Eve Ensler's e Vagina Monologues (1998), to the much more complex and audience challenging Nine Parts of Desire (2003) by Heather Raffo, and Doug Wright's Pulitzer Prize winning monodrama I Am My Own Wife (2004) which questions the reliability of its monologist and examines also the limits of the theatrical monologue as a means of communicating trauma via verbal representation of violence. Cannibalism, masturbation, rape, bodily mutilations, defecation, disembowelment, oceans of blood and non-stop swearing ­ that was British theatre in 1990s London ­ "in-yer-face" theatre. In the new millennium, however, especially a er

Journal

Prague Journal of English Studies – de Gruyter

Published: Dec 1, 2013

There are no references for this article.