The Theatre of Richard Maxwell and the New York City Players

Sarah Gorman

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English

Routledge
23 August 2018

Theatre: individual actors & directors

Series: Routledge Advances in Theatre & Performance Studies

The theatre of Richard Maxwell and the New York City Players has received significant international recognition over the past ten years. The company has received three OBIEs, for House (1999), Drummer Wanted (2002) and Good Samaritans (2005). Maxwell received a Guggenheim Fellowship in 2010 and has been commissioned by venues in the United States, the United Kingdom, Germany, Austria, the Netherlands, France, Belgium and Ireland. Although his productions generate a plethora of reviews, there is a deficit of material providing a critical and sustained engagement with his work. The aim of this book is to provide a critical survey of Maxwell’s work since 1992, including his early participation in Cook County Theater Department.

Touching upon the acting, production and rehearsal processes of NYC Player’s work, and Maxwell's representations of space, community, race, and gender, this volume provides scholars with an important overview of a key figure in contemporary drama.

By: Sarah Gorman
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 229mm, Width: 152mm,
Weight: 453g
ISBN: 9781138378087
ISBN 10: 1138378089
Series: Routledge Advances in Theatre & Performance Studies
Pages: 172
Publication Date: 23 August 2018
Audience: College/higher education , Primary , A / AS level
Format: Paperback
Publisher's Status: Active

Sarah Gorman is Principal Lecturer in Drama, Theatre & Performance Studies at Roehampton University, London. Her research focuses on contemporary European and North American experimental theatre. She has recently contributed to Making Contemporary Theatre: International Rehearsal Processes and A Concise Companion to British and Irish Drama.

Reviews for The Theatre of Richard Maxwell and the New York City Players

'...the detail and theoretical rigour of these studies will appeal to those already familiar with the company's work, as well as those thinking more broadly about the performance of gender (and masculinity in particular), the peculiar labour of the theatre, or the politics of apparently postpolitical theatre.' - Theron Schmidt, Contemporary Theatre Review