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Synopsis
‘Who can turn skies back and begin again?’
-Peter
This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre’s finest ‘lost’ plays. Seeking to liberate Britten and Slater’s work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions:
- If an opera was created like a play, and can be staged as a play, is it a play?
- If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play?
The answers involve Wagner and W.G. Sebald, George Crabbe and Complicité, Akenfield and Twin Peaks.
Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater’s achievement – a milestone of unconventional English modernism – and perhaps to other operatic masterpieces too.
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About the Author
Sam Kinchin-Smith, like Peter Grimes, was born in Suffolk and now lives on/in a boat. He works for the London Review of Books and has written for publications including the New Statesman, Condé Nast Traveller and the Independent.
"About this title" may belong to another edition of this title.
- PublisherRoutledge
- Publication date2018
- ISBN 10 113867866X
- ISBN 13 9781138678668
- BindingPaperback
- Edition number1
- Number of pages98
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Benjamin Britten and Montagu Slater's Peter Grimes (The Fourth Wall) by Kinchin-Smith, Sam [Paperback ]
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Peter Grimes (Paperback)
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Taylor & Francis Ltd, London, 2018
ISBN 10: 113867866X
ISBN 13: 9781138678668
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Paperback. Condition: new. Paperback. Who can turn skies back and begin again?-PeterThis book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatres finest lost plays. Seeking to liberate Britten and Slaters work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions: If an opera was created like a play, and can be staged as a play, is it a play? If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play?The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks. Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slaters achievement a milestone of unconventional English modernism and perhaps to other operatic masterpieces too. Sam Kinchin-Smith uses the Fourth Wall series bracing focus on modern theatre to question whether this cornerstone of the operatic repertoire might also be thought of as a theatre text. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9781138678668
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Benjamin Britten and Montagu Slater's Peter Grimes
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