This is the first major book-length study for four decades to examine the plays written by D. H. Lawrence, and the first ever book to give an in-depth analysis of Lawrence »s interaction with the theatre industry during the early twentieth century. It connects and examines his performance texts, and explores his reaction to a wide-range of theatre (from the sensation dramas of working-class Eastwood to the ritual performances of the Pueblo people) in order to explain Lawrence »s contribution to modern drama.
F. R. Leavis influentially labelled the writer »D. H. Lawrence: Novelist ». But this book foregrounds Lawrence »s career as a playwright, exploring unfamiliar contexts and manuscripts, and drawing particular attention to his three most successful works:
The Widowing of Mrs Holroyd,
The Daughter-in-Law, and
A Collier »s Friday Night. It examines how Lawrence »s novels are suffused with theatrical thinking, revealing how Lawrence »s fictions – from his first published work to the last story that he wrote before his death – continually take inspiration from the playhouse.
The book also argues that, although Lawrence has sometimes been dismissed as a restrictively naturalistic stage writer, his overall oeuvre shows a consistent concern with theatrical experiment, and manifests affinities with the dramatic thinking of modernist figures including Brecht, Artaud, and Joyce. In a final section, the book includes contributions from influential theatre-makers who have taken their own cue from Lawrence »s work, and who have created original work that consciously follows Lawrence in making working-class life central to the public forum of the theatre stage.
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