British Political Theatre and the Gothic Mode (2000-2022)

当代英国政治戏剧，正如本文将展示的那样，欠了哥特传统很大程度上未被承认的债务。这个项目将通过在当代政治戏剧中明确和隐蔽地使用哥特式来研究这种债务的重要性。我将专注于当代哥特式作品，如马丁·麦克唐纳和迈克·巴特利特的作品，评估哥特式是如何独特地与当代政治问题产生共鸣的。这些发现将进一步与非哥特式形式的工作进行对比，这些形式使用哥特式的比喻，如孤立的社会分裂，以及对他人的恐惧，来表达他们的政治观点，喜剧讽刺，舞台音乐剧，沉浸式体验和逐字戏剧等形式。因此，该项目将包括对哥特式戏剧在英国当前政治气候下作为一种政治形式的全部效力和影响的评估研究。我的论文建立在以前的学术成就之上，特别是我的硕士论文，它通过20世纪90年代英国剧作家的作品来追溯哥特式，尤其是莎拉·凯恩和大卫·格雷格，他1994年的戏剧《欧洲》是本项目的关键文本之一。将格雷格与巴特利特的《阿尔比恩》和麦克唐纳的《非常非常非常黑暗的物质》等更当代的文本进行比较，我的研究将揭示哥特在当代政治戏剧修辞中的影响程度。这些发现将通过对现场表演的观察、基于实践的研讨会、与当代剧作家的对话和合作来支持，特别是通过我在利兹剧院和利兹大学工作室剧院的联系。此外，通过利用伯明翰大学广泛的剧院设施，并在华威大学David Pattie博士和Fabio Camilletti博士的专业指导下，我将利用我在本科期间通过实践进行的研究培训中获得的技能来支持这些调查。我的研究最终完成了一篇实用的论文，该论文使用哥特式的表演模式来探索表现强奸创伤的语言困难。我第一次探索这些想法是在我在加州的国际学习期间，通过成功完成一个原创的研究项目，我被选中向学术界的观众展示，之后我以3.96的GPA返回。由于这些本科阶段的研究成果，以及我在启示录小说、反对派戏剧和后人文主义等模块上的高分成绩，我以全班第一的成绩从利兹大学毕业，并获得了著名的理查德·格雷厄姆爵士奖。

Contemporary British political theatre, as this thesis will demonstrate, owes a largely unacknowledged debt to the Gothic tradition. This project will examine the significance of this debt through both explicit and covert uses of the Gothic in contemporary political theatre. I will focus upon contemporary Gothic works such as those by Martin McDonagh and Mike Bartlett, assessing how the Gothic is uniquely poised to resonate with contemporary political issues. These findings will be further examined against the workings of non-Gothic forms which use Gothic tropes like isolating social division, and fears of the other, to articulate their political views, forms such as comic satires, stage musicals, immersiveexperiences and verbatim theatre. The project will therefore comprise an evaluative study of the full potency and reach of Gothic theatre as a political form in Britain's current political climate.My thesis builds upon previous academic achievements, particularly my MA dissertation, which traces the Gothic through the work of British dramatists in the 1990s-particularly Sarah Kane and David Greig, whose 1994 play Europe is one of the key texts for this project. Comparing Greig to more contemporary texts like Bartlett's Albion and McDonagh's A Very, Very, Very Dark Matter, my research will bring to light the extent of Gothic influence in the rhetoric of contemporary political theatre. These findings will be supported by observations of live performance, practice-based workshops, and conversations and collaborations with contemporary dramatists, particularly through my contacts at the Leeds Playhouse and Leeds University's Workshop Theatre.Furthermore, by taking advantage of the extensive theatre facilities at the University of Birmingham, and using the expert guidance of Drs David Pattie and Fabio Camilletti (of Warwick University), I will support these investigations with the skills gained from my training in research through practice as an undergraduate my studies culminated in a practical dissertation that used Gothic modes of performance to explore the linguistic difficulty of representing rape trauma. I first explored these ideas during my international study year in California through the successful completion of an original research project which I was chosen to present to an audience of academics, after which I returned with a GPA of 3.96. For these achievements in undergraduate research, and for my highly-graded work in modules ranging from Apocalypse fiction, Opposition theatre and Posthumanism, I graduated from Leeds University at the top of my cohort, and was awarded the prestigious Sir Richard Graham Prize.