Παραστάσεις

Edward Bond’s name as a dramatist has been indelibly associated with two landmarks in the history of 20th century British theatre: the abolition of censorship in 1968 and the brutalist stage aesthetic, some two decades later, widely known as “in-yer-face theatre.” However, this is a very limited view of his versatility as an artist who also wrote for other media apart from the stage and who actively engaged with the social function of theatre (especially for the young), experimented with new forms and developed a more European profile, better accepted in his later years in the Continent than in his homeland, where his strained relationship with the establishment made him a controversial figure to the end.