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dc.contributor.authorBramwell, Murray Ross
dc.date.accessioned2005-12-20T01:46:27Z
dc.date.available2005-12-20T01:46:27Z
dc.date.issued2003-12
dc.identifier.citationBramwell, Murray 2003. Innocence and Squalor. Review of "The Pitchfork Disney" by Philip Ridley. 'The Adelaide Review', December, no.243, 25.en
dc.identifier.issn0815-5992
dc.identifier.urihttp://hdl.handle.net/2328/236
dc.descriptionThe Chapel, Theatre 62, Pinter, Ross Ganf, Irvine Welsh, Josh Tyler, Peter Neilsen, Craig Behenna, Ksenja Logos, Ninian Donald, Maris Cauneen
dc.description.abstract"The Pitchfork Disney" first played in 1990 and heralded a wave of what might be called punk theatre. In works such as "Shopping and Fucking" and "Disco Pigs" - both of which have performed in Adelaide - and films such as "Naked", "Praise" and "Trainspotting", the best minds of a generation drew their subject from a vaguely futuristic underclass of alienated, sexually dysfunctional and highly chemicalised young people. They are Thatcher’s mutants, the bastard children of the Third Way. There have been a number of Australian writers exploring similar material - Daniel Keene and Reg Cribb, for instance and local playwrights Stephen House and Josh Tyler. Now, more than ten years on, even though the social issues depicted are still rampant, the genre itself is close to exhaustion and captive to cliché. All good reasons to stage a text which expresses these themes at their sharpest and most disturbing - and "The Pitchfork Disney" does just that.en
dc.format.extent127407 bytes
dc.format.mimetypeapplication/pdf
dc.language.isoen
dc.publisherAdelaide Reviewen
dc.subjectTheatre Reviewsen
dc.subjectDrama Reviewsen
dc.subjectTheatreen
dc.subjectDramaen
dc.subject.otherAustralian Standard Research Classification > 410102 Drama, Theatre and Performance Studiesen
dc.titleInnocence and Squalor. "The Pitchfork Disney" by Philip Ridley. 4 Bux Progressive Arts [review]en
dc.typeArticleen
dc.typePreprinten


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