Howard Barker

Howard Barker^[1] (born 28 June 1946)^[2] is a British playwright, screenwriter and writer of radio drama, painter, poet, and essayist, writing predominantly on playwriting and the theatre.^[3] The author of an extensive body of dramatic works since the 1970s, he is best known for his plays Scenes from an Execution,^[4][5][6] Victory,^[6] The Castle,^[6][5] The Possibilities,^[5][4] The Europeans, Judith^[4] and Gertrude – The Cry^[6][4] as well as being a founding member of, primary playwright for and stage designer for British theatre company The Wrestling School.

Howard Barker
Born	28 June 1946 Camberwell, London, England
Occupation	Playwright, theatre director, poet
Notable works	Scenes from an Execution, Victory, The Castle, The Possibilities, The Europeans, Arguments for a Theatre, Judith, Gertrude - The Cry

The Theatre of Catastrophe

Barker has coined the term "Theatre of Catastrophe" to describe his work.^[7] His plays often explore violence, sexuality, the desire for power, human motivation and the limits of language.

Rejecting the widespread notion that an audience should share a single response to the events onstage, Barker works to fragment response, forcing each viewer to wrestle with the play alone.^{[citation needed]} "We must overcome the urge to do things in unison", he writes. "To chant together, to hum banal tunes together, is not collectivity."^[7] Where other playwrights might clarify a scene, Barker seeks to render it more complex, ambiguous, and unstable.^{[citation needed]}

Only through a tragic renaissance, Barker argues, will beauty and poetry return to the stage. "Tragedy liberates language from banality", he asserts. "It returns poetry to speech."^{[citation needed]}

Themes

Barker frequently turns to historical events for inspiration. His play Scenes from an Execution, for example, centers on the aftermath of the Battle of Lepanto (1571) and a fictional female artist commissioned to create a commemorative painting of the Venetian victory over the Ottoman fleet. Scenes from an Execution, originally written for BBC Radio 3 and starring Glenda Jackson in 1984, was later adapted for the stage. The short play Judith revolves around the Biblical story of Judith, the legendary heroine who decapitated the invading general Holofernes.

In other plays, Barker has fashioned responses to famous literary works. Brutopia is a challenge to Thomas More's Utopia. Minna is a sardonic work inspired by Gotthold Ephraim Lessing's Enlightenment comedy Minna von Barnhelm. In Uncle Vanya, he poses an alternative vision to Anton Chekhov's drama of the same name. For Barker, Chekhov is a playwright of bad faith, a writer who encourages us to sentimentalize our own weaknesses and glamorize inertia. Beneath Chekhov's celebrated compassion, Barker argues, lies contempt. In his play, Barker has Chekhov walk into Vanya's world and express his disdain for him. "Vanya, I have such a withering knowledge of your soul," says the Russian playwright. "Its pitiful dimensions. It is smaller than an aspirin that fizzles in a glass. . ."^[8] However, Chekhov dies, and Vanya finds the resoluteness to stride out of the confines of his creator's world.

Barker's protagonists are conflicted, often perverse, and their motivations appear enigmatic. In A Hard Heart, Riddler, described by the playwright as "A Woman of Originality",^[9] is called upon to use her considerable brilliance in fortifications and tactics to save her besieged city. Each choice she makes appears to render the city more vulnerable to attack, but that outcome seems to exhilarate rather than upset her. "My mind was engine-like in its perfection," she exults in the midst of destruction.^{[citation needed]} Barker's heroes are drawn into the heart of the paradoxical, fascinated by contradiction.

The 1995 edition of the encyclopaedic The Cambridge Guide to Theatre describes Barker as a playwright "adept at choosing telling dramatic situations in which many different incidents can take place, but he reverses what might be regarded as the moral expectations [as well as] the expected moral order of capitalist societies. […] Barker deliberately attempts to upset expectations, denying the value of reason, continuity and naturalism, but there is a certain predictability about his wildness. His characters seem to be at emotional extremes, to speak in the same overwrought, rhetorical language."^[10]

Productions

Barker has acknowledged he has had greater success as playwright internationally than in his home country of Britain and many of his plays have been translated into other languages. He has noted that his plays have been more successful when performed abroad in America, Australia and Europe,^[11] especially mainland Europe where Barker has been celebrated as "one of the major writers of modern European theatre".

In Britain, Barker is "largely unknown" and he has been described as "cut[ting] a Byronic dash in British Theatre – sardonic, detached, the insider's outsider."^[10] Barker's work has influenced and inspired a number of notable British playwrights, including Sarah Kane, David Greig,^[12] Lucy Kirkwood,^[13] and Dennis Kelly.^[14] Noted actors Ian McDiarmid^[15] and Fiona Shaw^[16] have received acclaim for their performances in Barker's plays.^[17]

In Britain, Howard Barker formed The Wrestling School Company in 1988 to produce his own work in his native country.^[18]

There has been a small flurry of productions of Barker's plays on the London Fringe since 2007, including some non-Wrestling School productions which seem to fare better critically. Notable among these have been Victory^[19] and Scenes from An Execution,^[20] which received acclaimed productions at the Arcola and the Hackney Empire respectively. In 2012 the National Theatre staged a production of Scenes from an Execution, starring Fiona Shaw and Tim McInnerny.

Works

Stage plays

• Cheek (1970)
• No One Was Saved (1970) – Script unpublished
• Edward – the Final Days (1972) – Script unpublished
• Alpha Alpha (1972) – Script unpublished
• Faceache (1972) – Script unpublished
• Skipper (1973) – Script unpublished
• My Sister and I (1973) – Script unpublished
• Rule Britannia (1973) – Script unpublished
• Bang (1973) – Script unpublished
• Claw (1975)
• Stripwell (1975)
• Wax (1976) – Script unpublished
• Fair Slaughter (1977)
• That Good Between Us (1977)
• Birth on a Hard Shoulder (1977)
• Downchild (1977)
• The Hang of the Gaol (1978)
• The Love of a Good Man (1978)
• The Loud Boy's Life (1980)
• Crimes in Hot Countries (1980) (also performed as Twice Dead)
• No End of Blame (1981)
• The Poor Man's Friend (1981)
• The Power of the Dog (1981)
• Victory (1983)
• A Passion in Six Days (1983)
• The Castle (1985)
• Women Beware Women, adaptation of Thomas Middleton (1986)
• The Possibilities (1986)
• The Bite of the Night (1986)
• The Europeans (1987)
• The Last Supper (1988)
• Rome (1989)
• Seven Lears(1989)
• Golgo (1989)
• (Uncle) Vanya, adaptation of Chekhov's Uncle Vanya (1991)
• Ten Dilemas in the Life of a God (1992)
• Judith: A Parting from the Body (1992)
• Ego in Arcadia (1992)
• A Hard Heart (1992)
• Minna, adaptation of Lessing's Minna von Barnhelm (1993)
• All He Fears, a specialist play for marionettes (1993)
• The Early Hours of a Reviled Man
• Stalingrad
• 12 Encounters with a Prodigy
• The Twelfth Battle of Isonzo (2001)
• Found in the Ground
• The Swing at Night, a specialist play for marionettes (2001)
• Knowledge and a Girl
• Hated Nightfall and Wounds to the Face (1995)
• The Gaoler's Ache for the Nearly Dead (1997)
• Ursula; Fear of the Estuary (1998)
• Und (1999)
• The Ecstatic Bible (2000) Prizewinner Adelaide International Festival co-production Brink Theatre (SA) and Wrestling School
• He Stumbled (2000)
• A House of Correction (2001)
• Gertrude - The Cry (2002)
• 13 Objects and Summer School (2003)
• Dead Hands (2004)
• The Fence in Its Thousandth Year (2005)
• The Seduction of Almighty God by the Boy Priest Loftus in the Abbey of Calcetto, 1539 (2006)
• Christ's Dog (2006)
• The Forty (Few Words) (2006)
• I Saw Myself (2008)
• The Dying of Today (2008)
• A Wounded Knife (2009)

Radio plays

• One afternoon on the 63rd level of the north face of the pyramid of Cheops the Great (1970) – Script unpublished.
• Henry V in two parts (1971) – Script unpublished.
• Herman, with Mille and Mick (1972) – Script unpublished.
• Scenes from an Execution (1984)
• The Early Hours of a Reviled Man (1990)
• A Hard Heart (1992)
• A House of Correction (1999)
• Albertina (1999)
• Knowledge and a Girl (2002)
• The Moving and the Still (2003) – Broadcast in 2004.
• The Quick and the Dead, Radio 3 (2004)
• Two skulls, broadcast on Danish radio (2005)
• The Road, The House, The Road (2006) broadcast on Radio 4 to commemorate his sixtieth birthday.
• Let Me (2006) broadcast to commemorate the sixtieth anniversary of the Third Programme (Radio 3)

Television plays and films

• Cows (1972)
• Made (1972) feature film based on his play No One Was Saved.
• Mutinies (1974)
• The Chauffeur and the Lady (1974)
• Prowling Offensive (1975) – not transmitted
• Conrod
• Aces High (1976) feature film adapted from R.C. Sheriff's play Journey's End.
• Heroes of Labour (1976) – unproduced
• All Bleeding (1976) – unproduced
• Credentials of a Sympathiser (1976)
• Sympathiser (1977) – unproduced
• Russia (1977) – unproduced
• Heaven (1978) – unproduced
• Pity in History (1984)
• The Blow, film (1985)
• Brutopia (1989)
• Christ's Dog (2011) short film adapted from his play of the same name.
• In Mid Wickedness (2013) short film in the Georgian language adapted from his play The Forty.
• Not Him (2014) short film based on Barker's short play of the same name from The Possibilities.
• Don't Exaggerate (2015) short film adapted from Howard Barker's work of the same name.

Other writings

Barker has also authored several volumes of poetry (Don't Exaggerate, The Breath of the Crowd, Gary the Thief, Lullabies for the Impatient, The Ascent of Monte Grappa, and The Tortman Diaries), an opera (Terrible Mouth with music by Nigel Osborne), the text for Flesh and Blood, a dramatic scene for two singers and orchestra by David Sawer, and three collections of writings on the theatre (Arguments for a Theatre, Death, The One and The Art of Theatre, A Style And Its Origins).

Personal life

Barker divorced in the 1980s and has lived on his own in Brighton since then.^[21]

Further reading

• Barker, Howard (30 September 2004). Death, The One and the Art of Theatre (first ed.). Routledge. ISBN 9780415349871.
• Barker, Howard; Houth, Eduardo (2007). A Style and Its Origins (first ed.). London: Oberon Books. ISBN 9781840027181.
• Barker, Howard (July 2016). Arguments for a Theatre (fourth ed.). London: Oberon Books. ISBN 9781783198054.
• Brown, Mark (15 June 2011). Howard Barker Interviews 1980–2010: Conversations in Catastrophe (first ed.). Intellect Books. ISBN 9781841503981.
• Rabey, David Ian (2009). Howard Barker: Politics and Desire: An Expository Study of His Drama and Poetry, 1969-87 (2009 ed.). Palgrave Macmillan. ISBN 9780230577404.
• Rabey, David Ian (2009), Howard Barker: Ecstasy and Death: An Expository Study of His Drama, Theory and Production Work, 1988-2008, Palgrave Macmillan. ISBN 9781403994738
• Lamb, Charles (2005). The Theatre of Howard Barker (second ed.). Routledge. ISBN 9780415315319.
• Rabey, David Ian, and Goldingay, Sarah (eds.; 2013), Howard Barker's Art of Theatre: Essays on His Plays, Poetry and Production Work, Manchester University Press. ISBN 9780719089299

References

1. "Index entry". FreeBMD. ONS. Retrieved 12 October 2011.
2. "Howard Barker Biography (1946-)". Filmreference.com. Retrieved 21 December 2008.
3. "Howard Barker webpage on The Wrestling School website". Archived from the original on 15 March 2023. Retrieved 6 August 2004.
4. Barker, Howard (2016). Arguments for a Theatre (fourth ed.). London: Oberon Books. back cover. ISBN 9781783198054.
5. Barker, Howard (15 November 1997). Arguments for a Theatre (third ed.). Manchester, UK: Manchester University Press. back cover. ISBN 0719052491.
6. Barker, Howard (2004). Death, the One and the Art of Theatre (Kindle ed.). Routledge. ISBN 0-415-34986-9.
7. Barker, Howard (15 November 1997). Arguments for a Theatre (third ed.). Manchester, UK: Manchester University Press. ISBN 978-0-7190-5249-1.
8. Barker, Howard (2004). Collected Plays Vol. 2: Includes Love of a Good Man, the Possibilities, Brutopia, Rome, Uncle Vanya, and Ten Dilemmas. London: Calder. ISBN 978-0-7145-4182-2.
9. Barker, Howard (1992). A Hard Heart; The Early Hours of a Reviled Man. London: Riverrun Press. ISBN 978-0-7145-4228-7.
10. Banham, Martin (2000). The Cambridge Guide to Theatre (Corrected ed.). United Kingdom: Cambridge University Press. p. 78. ISBN 0-521-43437-8. Retrieved 15 February 2021.
11. interview with Howard Barker by Nick Hobbes on The Wrestling School Website
12. Hattenstone, Simon (1 July 2000). "A sad hurrah". The Guardian.
13. Hemming, Sarah (10 January 2020). "Lucy Kirkwood on going from kitchen to courthouse with 'The Welkin'". Financial Times. London. Retrieved 11 October 2020.
14. Kelly, Dennis; Aberg, Maria (4 March 2005). "DENNIS KELLY AND MARIA ABERG: THE GODS WEEP". TheatreVoice (Interview: Audio). Interviewed by Aleks Sierz. Retrieved 19 March 2010.
15. "Past Productions". Archived from the original on 2 June 2016. Retrieved 17 August 2015.
16. "Scenes from an Execution, National Theatre, review". 5 October 2012.
17. Irvine, Lindesay (6 December 2006). "Podcast: Howard Barker talks". The Guardian. London. Retrieved 21 December 2008.
18. "The Wrestling School". Thewrestlingschool.co.uk. Archived from the original on 28 May 2016. Retrieved 21 December 2008.
19. Gardner, Lyn (10 March 2009). "Victory". The Guardian. London. Retrieved 4 May 2010.
20. Gardner, Lyn (17 January 2007). "Scenes from an Execution". The Guardian. London. Retrieved 4 May 2010.
21. "Howard Barker: 'I don't care if you listen or not'", The Guardian, 1 October 2012

External links

• Official Site
• The Wrestling School's page on Barker Archived 15 March 2023 at the Wayback Machine
• Special section on Howard Barker in Hyperion: On the Future of Aesthetics, Vol. V, Issue 1, May 2010. This features "Cruelty, Beauty, and the Tragic Art of Howard Barker" by Rainer J. Hanshe, "Access to the Body: The Theatre of Revelation in Beckett, Foreman, and Barker" by George Hunka, excerpts from Barker's Death, The One, and The Art of Theatre, which is introduced by Karoline Gritzner, and "The Sunless Garden of the Unconsoled: Some Destinations Beyond Catastrophe", a new and previously unpublished essay by Howard Barker, which is introduced by David Kilpatrick. The section also features high-resolution color reproductions of numerous paintings of Barker's.