This book explores how the English rural has been represented in contemporary theatre and performance. Exploring a range of plays, forms, and contexts of theatre production, Representing the Rural celebrates the lively engagement with rurality on English stages since 2000, constituting the first full study of theatrical representations of rural life. Interdisciplinary in its approach, this book draws on political philosophy and cultural geography in its definitions of rurality and Englishness, and works with key theoretical concepts such as nostalgia and ethnonationalism. Covering a range of perspectives from the country garden in Mike Bartlett’s Albion to agricultural labour in Nell Leyshon’s The Farm, the enclosure acts in D.C. Moore’s Common to Black rural history in Testament’s Black Men Walking, the book shows how theatre and performance can open up different ways of reading rural geographies, histories, and lives. While Representing the Rural is aimed at students and researchers of theatre and performance, its interdisciplinary scope means that it has wider appeal to other disciplines in the arts and humanities, including geography, politics, and history.

Magical Transformations on the Early Modern Stage furthers the debate about the cultural work performed by representations of magic on the early modern English stage. It considers the ways in which performances of magic reflect and feed into a sense of national identity, both in the form of magic contests and in its recurrent linkage to national defence; the extent to which magic can trope other concerns, and what these might be; and how magic is staged and what the representational strategies and techniques might mean. The essays range widely over both canonical plays-Macbeth, The Tempest, The Winter’s Tale, The Merry Wives of Windsor, Doctor Faustus, Bartholomew Fair-and notably less canonical ones such as The Birth of Merlin, Fedele and Fortunio, The Merry Devil of Edmonton, The Devil is an Ass, The Late Lancashire Witches and The Witch of Edmonton, putting the two groups into dialogue with each other and also exploring ways in which they can be profitably related to contemporary cases or accusations of witchcraft. Attending to the representational strategies and self-conscious intertextuality of the plays as well as to their treatment of their subject matter, the essays reveal the plays they discuss as actively intervening in contemporary debates about witchcraft and magic in ways which themselves effect transformation rather than simply discussing it. At the heart of all the essays lies an interest in the transformative power of magic, but collectively they show that the idea of transformation applies not only to the objects or even to the subjects of magic, but that the plays themselves can be seen as working to bring about change in the ways that they challenge contemporary assumptions and stereotypes.

As a regular reviewer for Shakespeare Survey and the BBC, Holland has examined the variety, the strengths and the problems of English productions. His introductory chapter points to themes which are taken up in the detailed accounts that follow: the size and scale of different theatres, the difficulties of over-familiarity, the power of director's theatre, the possibilities of design, the excitement of new actors, the discoveries of regionalism and the variety of playing spaces in which Shakespeare is performed. The main part of the book is a chronological account of productions which charts the work of several English companies, including the Royal Shakespeare Company, the Royal National Theatre, Cheek by Jowl, Northern Broadsides and the English Shakespeare Company. A final chapter compares the English experience with productions elsewhere, including America, France, Germany and Russia.

This study is the first of its kind to analyse the representation of Irish English in film. Using a corpus of 50 films, ranging from John Ford's The Informer (1935) to Lenny Abrahamson's Garage (2007), the author examines the extent to which Irish English grammatical, discourse and lexical features are present in the films and provides a qualitative analysis of the accents in these works. The authenticity of the language is called into question and discussed in relation to the phenomenon of the Stage Irishman.

Showcasing the voices, perspectives, and experiences of rural English teachers and students, Teaching English in Rural Communities promotes equity, diversity, and inclusivity within rural education. Specifically, this book develops a Critical Rural English Pedagogy (CREP), which draws attention to issues of power, representation, and justice related to rurality. Based on the assumption that “rurality” is a social construct, CREP critiques deficit-laden stereotypes and renderings of rural places and people that circulate in media, popular discourse, and even education at times. In doing so, CREP opens up possibilities for educators and students to use the English classroom as a space to better understand the complex issues they face as rural people and ways to promote more nuanced and comprehensive representations of rurality. In particular, this book highlights English rural classrooms whereby students examine representations of rurality in literary and media texts; decenter dominant settler-colonist narratives of rural spaces, places, and people; develop understandings of Indigenous perspectives and cultural practices, particularly related to land stewardship; and engage in local outreach to promote inclusivity within rural communities. This book also gives special attention to ways race and racism may factor into literacy education in rural contexts and possibilities for rural educators to attend to these issues.