The use of biographical material in contemporary British theatre.

The thesis addresses the contrast between the popUlarity of plays with historical characters, i.e.
characters that recognisably resemble historical figures, on the British stage and the lack of
academic literature that deals with this issue. On the basis of such a practical observation, a
working definition is established, in which the existence of such a characters, or the reflection
about the process of life-writing are included, and the consequences of the use of biographical
material are outlined.
A crucial effect is the establishment of a very different relationship between the world of the
play and the world outside the theatre in which it is produced and received. This question is
discussed in the light of different theories that deal with the idea of reference and a functional
approach that concentrates on the way in which different modes of reference, such as fact or
fiction, are used is suggested.
On this basis scripts and productions of biographical plays are analysed with regard to the way
in which they present the relationship between themselves and the past lives they portray. In
addition, comments by playwrights and practitioners are presented. The second section focuses
on the reception of biographical theatre, establishing a theoretical model in which its particular
features are described. It is then applied to the reactions of a small group of spectators who were
interviewed about various biographical plays and to published reactions to life writing in the
theatre. Finally the conclusions suggest that the questions that are raised in the particular context
of biographical theatre go beyond this immediate field, as the relationship between
performances and the world is of importance for all theatre. The theoretical and methodological
framework that is established in this thesis could therefore contribute to other areas of theatrical
research as well.