The first collection of plays by one of France's most prominent playwrights Overboard: "Combines Shakespearian tragedy, Aristophanic farce and a Chekhovian drama of lives consumed and memories that fade." Le Progres, Situation Vacant: "The play builds to a climax which powerfully captures a mind under siege, bombarded by a cacophony of voices and tormented by guilt." (Independent); Dissident, Goes Without Saying and Nina, That's Something Else: "These two plays bring to a summit the art of suggestions...Two fables in which prosaic everyday life is captured, at times fraught with pathos, often compassionate." (L'Humanite ); A Smile on the End of the Line: "A six-part invention which interweaves half a dozen plot lines to bring life and speed into the manufacturing sector." (Daily Telegraph)
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The first of two volumes presenting work by the French playwright, Michel Vinaver.
| Chronology |
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vii | |
| Author's Foreword |
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xv | |
| Introduction: A Modernist Theatre |
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xvii | |
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1 | (148) |
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149 | (84) |
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Dissident, Goes Without Saying |
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233 | (28) |
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Nina, That's Something Else |
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261 | (38) |
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A Smile on the End of the Line |
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299 | |
David Bradby (b. 1942) was one of the great pioneers of theatre studies in Britain. He had a strong interest in French theatre, modernist and postmodernist theatre, the role of the director, and the Theatre of the Absurd, as well as translating several works. He was Professor Emeritus of Drama and Theatre at Royal Holloway and was made a Chevalier des Arts et des Lettres by the French government in 1997. He died aged 68 in 2011.
David Bradby (1942 2011) was Emeritus Professor of Drama and Theatre Studies at Royal Holloway, University of London, UK. Michel Vinaver was born in 1927. For nearly 30 years he was an executive with Gilette International and this inside experience of the workings of a multinational corporation has provided material for many of his plays. In the 1950s he was labelled a political dramatist, especially after his play The Koreans provoked right-wing demonstrations and was subject to government censorship. In the 1960s he suffered from prolonged writer's block but overcame it with the writing of Overboard (1969). Since then he has written many more plays and is known as the leading 'dramatist of the everyday'. His work has been produced by every leading director from Vitez to Lassalle; he was the first chairman of the Theatre Commission of the Centre National des Lettres, and is generally acknowledged as France's major living dramatist.
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