Howard Brenton: Romantic Retreats

  • Duncan Wu

Abstract

In 1972 Howard Brenton told Peter Ansorge that

The theatre is a dirty place. It’s not a place for a rational analysis of society — it’s there to bait our obsessions, ideas and public figures.1

Keywords

Europe Rubber Marketing Posit Funeral Pyre 

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Notes and References

  1. 1.
    Tony Mitchell, File on Brenton (London: Methuen, 1987), p. 86.Google Scholar
  2. 2.
    Antonin Artaud, The Theatre and its Double, tr. Victor Corti (London: John Calder, 1977), p. 71.Google Scholar
  3. 3.
    ‘Our changing theatre’; Tom Stoppard and Howard Brenton interviewed by John Russell Taylor, BBC Radio, transmitted 23 November 1970.Google Scholar
  4. 4.
    Howard Brenton, Plays: One (London: Methuen, 1986), p. 27.Google Scholar
  5. 5.
    Among numerous examples see, for instance, Wordsworth, Thirteen-Book Prelude, v, 625-9: Even forms and substances are circumfused By that transparent veil with light divine, And through the turnings intricate of verse Present themselves as objects recognised In flashes, and with a glory scarce their own.Google Scholar
  6. 6.
    Plays: One, p. 28.Google Scholar
  7. 7.
    Plays: One, p. 29.Google Scholar
  8. 8.
    Plays: One, p. 345.Google Scholar
  9. 9.
    Plays: One, p. 346.Google Scholar
  10. 10.
    Margaretta D’Arcy, File on Brenton, p. 37.Google Scholar
  11. 11.
    ‘3 Plays for Utopia’, programme note, Royal Court Theatre, 1988.Google Scholar
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    Frankenstein, ed. M. K. Joseph (Oxford: Oxford University Press, 1980), p.100.Google Scholar
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  15. 15.
    Plays: One, p. 378.Google Scholar
  16. 16.
    Plays: One, p. 390.Google Scholar
  17. 17.
    Howard Brenton, Bloody Poetry (2nd edn, London: Methuen/Royal Court Writers series, 1988), p. 14.Google Scholar
  18. 18.
    Bloody Poetry, p. 37.Google Scholar
  19. 19.
    Bloody Poetry, p. 43.Google Scholar
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    Bloody Poetry, p. 67.Google Scholar
  21. 21.
    Bloody Poetry, p. 80.Google Scholar
  22. 22.
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    Howard Brenton, Greenland (London: Methuen/Royal Court Writers Series, 1988), p. 51.Google Scholar
  24. 24.
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  26. 26.
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  27. 27.
    Howard Brenton, The Genius (London: Methuen/Royal Court Writers Series, 1983), p. 35.Google Scholar
  28. 28.
    Bertolt Brecht, The Life of Galileo, tr. Howard Brenton (2nd edn, London: Methuen, 1981), p. 85.Google Scholar
  29. 29.
    The Genius, p. 37.Google Scholar
  30. 30.
    Howard Brenton, H.I.D. (Hess is Dead) (London: Nick Hern Books, 1989), p. 52.Google Scholar
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    H.I.D., p. 53.Google Scholar
  32. 32.
    H.I.D., pp. 56-7.Google Scholar
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  34. 34.
    Howard Brenton, Diving for Pearls (London: Nick Hern Books), p. 159.Google Scholar
  35. 35.
    I have revised the assessment given in my review at the time of the novel’s publication; see ‘Out of the gutter’, New Statesman and Society (16 June 1989), p. 37.Google Scholar
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    H.I.D., pp. 66-7. It is interesting how closely Brenton’s reflections on human nature in the post-communist era parallel those of Ian McEwan, Black Dogs (London: Jonathan Cape, 1992).Google Scholar
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    Tariq Ali and Howard Brenton, Iranian Nights (London: Nick Hem Books, 1989).Google Scholar
  43. 43.
    Tariq Ali and Howard Brenton, Moscow Gold (London: Nick Hem Books, 1990), p. 90.Google Scholar
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    Howard Brenton, Berlin Bertie (London: Nick Hem Books/Royal Court Programme, 1992), p. 55.Google Scholar
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    Plays: One, p. 370.Google Scholar
  53. 53.
    Berlin Bertie, p. 31.Google Scholar
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    This is a quotation, of course, from The Defence of Poetry.Google Scholar
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  65. 65.
    Quoted by Carole Angier, ‘Defender of the memory’, The Guardian (18 November 1992), G2 Arts 4/5, p. 5.Google Scholar

Copyright information

© Duncan Wu 1996

Authors and Affiliations

  • Duncan Wu
    • 1
  1. 1.Department of English LiteratureUniversity of GlasgowUK

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