Howard Barker
Howard Barker (born 28 June 1946) is a British playwright, screenwriter and writer of radio drama, painter, poet, and essayist writing predominantly on playwriting and the theatre. The author of an extensive body of dramatic works since the 1970s, he is best known for his plays "Scenes from an Execution", "Victory", "The Castle", "The Possibilities", "The Europeans", "" and "Gertrude - The Cry" as well as being a founding member, primary playwright and stage designer for British theatre company The Wrestling School. The Theatre of Catastrophe. Barker has coined the term "Theatre of Catastrophe" to describe his work. His plays  often explore violence, sexuality, the desire for power, and human motivation. 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. "We must overcome the urge to do things in unison" he writes. "To chant together, to hum banal tunes together, is not collectivity." Where other playwrights might clarify a scene, Barker seeks to render it more complex, ambiguous, and unstable. 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." 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 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. . ." But 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" is called upon to use her considerable brilliance in fortifications and tactics to save her besieged city. But each choice she makes seems 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.< 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." 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, 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[ing] a Byronic dash in British Theatre - sardonic, dethatched, the insider's outsider." Barker's work has influenced and inspired a number of notable British playwrights, including Sarah Kane, David Greig, Lucy Kirkwood, and Dennis Kelly. Noted actors Ian McDiarmid and Fiona Shaw have received acclaim for their performances in Barker's plays. In Britain, Howard Barker formed "The Wrestling School" Company in 1988 to produce his own work in his native country. 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 and Scenes from An Execution 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. 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 2 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.