Steven Price


University of Wales, Bangor, United Kingdom.
Steven Price is Lecturer in English at the University of Wales, Bangor. He has published numerous articles on British and American drama. With William Tydeman he is the co-author of Oscar Wilde: Salome (Cambridge University Press), and he is a regular contributor to and Associate Editor of The Year’s Work in English Studies (Oxford University Press).

Articles de l'auteur


Cycnos | Volume 14 n°1

Why dunnit?: Pinter’s revival of Twelve Angry Men

““Who would have thought that Harold Pinter, the modern master of enigma and menace, would have chosen to direct a trusty old warhorse like this?” asked Charles Spencer in the Daily Telegraph on 23 April 1996. The warhorse to which he referred in his fairly representative review was Reginald Rose’s Twelve Angry Men, originally presented as a television play in 1954, which had been made into a celebrated film by Sidney Lumet before receiving its first stage performance in 1958. The Bristol Old Vic’s production, directed by Pinter, had opened at Bristol’s Theatre Royal on 7 March 1996, before transferring to the Comedy Theatre, London, in April. ...”

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Cycnos | Volume 12 n°1 | II.

A. T. & T. : Anxiety, Telecommunications and the Theatre of David Mamet

“The radio would be the finest possible communication apparatus in public life, a vast network of pipes. That is to say, it would be if it knew how to receive as well as to transmit, how to let the listener speak as well as hear, how to bring him into a relationship instead of isolating him. On this principle the radio should step out of the supply business and organize its listeners as suppliers. Any attempt by the radio to give a truly public character to public occasions is a step in the right direction.Bertolt Brecht1 Why does a phone ringing on th...”

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Cycnos | Volume 18 n°1

Martin McDonagh: A Staged Irishman

Martin McDonagh is one of the most important figures in the new generation of British playwrights that emerged in the 1990s. Born and bred in London but of Irish parentage, he is often held to represent a new form of ‘Anglo-Irishness’ that repudiates familiar constructions of nationality while remaining indebted to a tradition of Irish drama initiated by J. M. Synge, leading to suggestions that he is essentially a pasticheur. McDonagh himself claims little first-hand knowledge of this tradition, however, and he might more accurately be said to inhabit a postmodern world in which traditions are mediated by popular culture, especially television situation comedy and American cinema. He typifies a generation of dramatists for whom American influences are more pervasive than those of either England or Ireland, and whose ideas have been shaped less by theatre than by television, film and music. McDonagh’s plays thereby retain an ironic distance from the Irish writers he is sometimes said to imitate; the challenge instead will be to avoid too great an immersion in the popular culture of a newly ‘globalised’ Britain in which America is the dominant economic and cultural superpower.

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