Edward Bond's trilogy of plays - 'Red Black and Ignorant', 'The Tin Can People' and ' Great Peace' - portrays a brutal world struggling in the aftermath of nuclear holocaust. 'The War Plays' were first staged by the Royal Shakespeare Company in 1985: 'Red Black and Ignorant' and 'The Tin Can People' were performed in May 1985 and 'Great Peace' received its world premiere in July 1985.

As Karen Malpede points out in her introduction to Acts of War, drama "arose as a complement to, perhaps also as an antidote to, war." Like the great ancient Greek playwrights Aeschylus, Sophocles, and Euripides, the playwrights in this volume see the theater as an art form uniquely capable of addressing the effects of warfare. --

WAR PLAYS by Christine Evans collects for the first time three of this US-based, UK-Australian playwright's remarkable plays about war and aftermath: Trojan Barbie, Mothergun and Slow Falling Bird. With an introduction by esteemed filmmaker Peter Davis, this collection is a terrific introduction to Evans' astute theatrical voice.

This anthology consists of ten plays from countries involved in the First World War. It explores the historical development of theatrical conventions and genres and the historical context of social and gender issues.

This anthology consists of ten plays from countries involved in the First World War, including plays from Germany and France never before available in translation. Representing a range of dramatic forms, from radio play to street-epic, from comic sketch to musical, this anthology includes plays from: Gertrude Stein, Muriel Box, Marion Wentworth Craig, Dorothy Hewett, Berta Lask, Marie Leneru, Wendy Lill, Alice Dunbar Nelson, and Christina Reid. Highly successful in their day, these plays demonstrate how women have attempted to use theatre to achieve social change. The collection explores the historical development of theatrical conventions and genres and the historical context of social and gender issues.

The First World War (1914–1918) marked a turning point in modern history and culture and its literary legacy is vast: poetry, fiction and memoirs abound. But the drama of the period is rarely recognised, with only a handful of plays commonly associated with the war. First World War Plays draws together canonical and lesser-known plays from the First World War to the end of the twentieth century, tracing the ways in which dramatists have engaged with and resisted World War I in their works. Spanning almost a century of conflict, this anthology explores the changing cultural attitudes to warfare, including the significance of the war over time, interwar pacifism, and historical revisionism. The collection includes writing by combatants, as well as playwrights addressing historical events and national memory, by both men and women, and by writers from Great Britain and the United States. Plays from the period, like Night Watches by Allan Monkhouse (1916), Mine Eyes Have Seen by Alice Dunbar-Nelson (1918) and Tunnel Trench by Hubert Griffith (1924), are joined with reflections on the war in Post Mortem by Noël Coward (1930, performed 1944) and Oh What A Lovely War by Joan Littlewood's Theatre Workshop (1963) as well as later works The Accrington Pals by Peter Whelan (1982) and Sea and Land and Sky by Abigail Docherty (2010). Accompanied by a general introduction by editor, Dr Mark Rawlinson.

How can war be represented on stage? How does the theatre examine the structures leading to violence and war and explore their transformation of societies? Springing from the discussion about 'New Wars' in the age of globalisation, this interdisciplinary study demonstrates how these 'New Wars' bring forth new plays about war.

Laura Lee Hope's 'The Moving Picture Girls in War Plays. Or, The Sham Battles at Oak Farm' is a captivating novel that follows the adventures of the moving picture girls as they become involved in creating war plays at Oak Farm. The book, written in a vivid and engaging style, provides a unique insight into the early days of motion pictures and the challenges faced by those in the film industry. The literary context of the novel reflects the growing interest in visual storytelling during the early 20th century, making it a valuable piece of historical fiction. Readers will be drawn into the world of silent movies and the creative process behind filmmaking. Laura Lee Hope's attention to detail and descriptive language bring the setting to life, creating a compelling narrative that will appeal to fans of both historical fiction and film history. Laura Lee Hope, a pseudonym used by the Stratemeyer Syndicate, was a collective group of authors who contributed to the popular 'Moving Picture Girls' series. Their extensive experience in writing children's literature and their passion for storytelling shines through in 'The Moving Picture Girls in War Plays,' making it a must-read for anyone interested in the early days of cinema and the behind-the-scenes magic of filmmaking. I highly recommend this book to readers looking for a delightful blend of adventure, history, and creativity.

The Theatre of War surveys more than two hundred plays about the First World War written, published and/or performed in Britain and Ireland between 1909 and 1998. Perspectives discussed include: subject matter, technique and evaluation. The result is an understanding of the First World War as a watershed in international history.

A lively study of the function of theatre entertainment in the First World War, 1914-18. The theatre's role as unofficial government aide in the form of recruiter, propagandist and fund raiser is examined; so too its use as morale booster and provider of a war-related role for the aristocracy, female and military over-aged male artists. The organization of theatre for and by the military and civilian concert parties for troops in training and at the Front is analysed.