Barker Plays Four

Howard Barker is one of the most controversial British dramatists of his time. His plays unsettle, challenge, and expose. The contradictions of the humanist personality are explored in the following four plays: I Saw Myself; The Dying of Today; Found in the Ground; and The Road, the House, the Road.

Includes the plays I Saw Myself, The Dying of Today, Found in the Ground and The Road, the House, the Road Howard Barker is one of the most significant and controversial dramatists of his time. His plays challenge, unsettle and expose. In I Saw Myself a woman's longing to understand her compulsion to transgress the laws of her society comes into collision with the conventions of an art form. In the weaving of a tapestry Barker's13th century heroine privileges private life over public responsibility. If she is cruelly punished she is also granted self-awareness. A critical moment in social decay is also at the centre of The Dying of Today, in which a stranger who luxuriates in the telling of bad news observes the effects of his devastating narrative on a humble barber. The barber's recovery from pain, and the beauty of his sensibility, bring the two strangers into an emotional proximity. Barker's most experimental work in form and content is probably Found in the Ground, a mobile, musical work set during the last days of an aged Nuremberg judge whose baying hounds and burning library form an uncanny background to his wayward daughter's struggle to make meaning from the atrocities of the 20th century. The contradictions of the humanist personality are explored in The Road, the House, the Road. Erasmus' obscure colleague Aventinus was found dead on a wintry road. How he arrived at his solitary death forms the subject of this speculation on scholarship, mischief and the murderer's vocation.

Includes the plays Claw, Ursula, He Stumbled and The Love of a Good Man The plays in this volume range over twenty years, beginning with Barker's first major work for the stage, Claw, a study of urban discontent and political impotence, developed over three stylistically contrasting acts. Its terrible conclusion marked the debut of a vivid dramatic imagination. In Ursula Barker's engagement with the pains of the past, and his way of reinvigorating ancient arguments reaches a high point in his treatment of the legend of St Ursula and the martyrdom of 11,000 virgins, where the virtues of celibacy and marriage are set against the catastrophic passion of a woman described as a 'perfect liar'. Barker's scrutiny of the body and its complex meanings is never more intense than in He Stumbled, the tragedy of a celebrated anatomist whose last dissection becomes his own. The body as a site of political and personal investment is also at the heart of The Love of a Good Man, an early work set on the empty battlefields of the Great War, where the burial of the dead becomes a pretext for private ambition as well as national grief.

Simultaneously heartbreaking and heartwarming, This is How We Got Here follows a close-knit family as they deal with an unexpected loss. A mother, father, aunt, and uncle must learn how to move forward after the trauma and re-learn how to interact with one another with forgiveness, humor, and love.

The theatre of Howard Barker subverts myth and invents history in its pursuit of the meaning of individual integrity. Repudiating politics and asserting the primacy of the emotions, Barker's tragedy is written in a language by turns poetic and brutally mundane. The effects are disconcerting and destabilizing, as he insists tragedy must be. The twelfth and final collection of plays from this celebrated, influential and widely-studied playwright includes: At Her Age and Hers, which uses Velázquez's painting Las Meninas to meditate on the making of a work of art, removing the figures from the frame, animating them, and assembling them again. Landscape with Cries, which invokes the savagery of the Peasants' Revolt of fourteenth-century France to create an unlikely heroine. Womanly, a play which is alternatively dreamlike and nightmarish in its biography of Elbow, the aptly named protagonist who defies the conventional morals of her day. Four Dialogues which are small in size of cast, but ambitious in their confrontations with the ideas of faith, language, and longing. Struggling to define their needs, the characters come near to the final purpose of Barker's dramatic endeavour – the discovery of a reason to exist. True Condition – both the title of the play and the name of an unseaworthy vessel – which tells of the final voyage of a boat crewed by criminals.

A famous photographer lying in a coma holds the key to the salvation of the world. But first he must travel back into the traumatic events of his childhood.