Bibliography for DT3314: Contemporary British Theatre: Politics & Philosophy BETA

Abrams, J. (2010a) ‘State of the Nation: New British Theatre’, PAJ: A Journal of Performance and Art, 32(2), pp. 8–16. Available at: https://doi.org/10.1162/pajj.2010.32.2.8.

Abrams, J. (2010b) ‘State of the Nation: New British Theatre’, PAJ: A Journal of Performance and Art, 32(2), pp. 8–16. Available at: https://doi.org/10.1162/pajj.2010.32.2.8.

‘Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts’ (2002a) Modern Drama, 45(4). Available at: https://doi.org/10.1353/mdr.2002.0042.

‘Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts’ (2002b) Modern Drama, 45(4). Available at: https://doi.org/10.1353/mdr.2002.0042.

Adiseshiah, S. (2016) Twenty-First Century Drama: What Happens Now. Edited by L. LePage. London: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4719834.

Adiseshiah, S.H. (2009) Churchill’s socialism: political resistance in the plays of Caryl Churchill. Newcastle: Cambridge Scholars.

Adiseshiah, S.H. and LePage, L. (eds) (2016a) Twenty-first century drama: what happens now. London: Palgrave Macmillan.

Adiseshiah, S.H. and LePage, L. (eds) (2016b) Twenty-first century drama: what happens now. London: Palgrave Macmillan.

Agbaje, B. (2009) ‘Detaining Justice’, in Not black and white. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408167175.00000050.

Andrea Peghinelli (2012a) ‘Polly Stenham and Mark Ravenhill:  Astonishing Debuts and Court Scandals’, Status Quaestionis, 1(2). Available at: http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956.

Andrea Peghinelli (2012b) ‘Polly Stenham and Mark Ravenhill:  Astonishing Debuts and Court Scandals’, Status Quaestionis, 1(2). Available at: http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9955.

Andrea Peghinelli (2012c) ‘Polly Stenham and Mark Ravenhill:  Astonishing Debuts and Court Scandals [open access]’, Status Quaestionis, 1(2). Available at: http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956.

Angelaki, V. (2012) The plays of Martin Crimp: making theatre strange. Basingstoke: Palgrave Macmillan.

Angelaki, V. (ed.) (2013a) Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan.

Angelaki, V. (ed.) (2013b) Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan.

Angelaki, V. (2013c) ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in V. Angelaki (ed.) Contemporary British Theatre: Breaking New Ground. Basingstoke: Palgrave Macmillan, pp. 57–78.

Angelaki, V. (2013d) ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in V. Angelaki (ed.) Contemporary British Theatre: Breaking New Ground. Basingstoke: Palgrave Macmillan, pp. 57–78. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137010131.

Angelaki, V. (2013e) ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in V. Angelaki (ed.) Contemporary British Theatre: Breaking New Ground. Basingstoke: Palgrave Macmillan, pp. 57–78.

Angelaki, V. (2013f) ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in V. Angelaki (ed.) Contemporary British Theatre: Breaking New Ground. Basingstoke: Palgrave Macmillan, pp. 57–78.

Angelaki, V. (2014a) ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 135–151.

Angelaki, V. (2014b) ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 135–151. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.

Angelaki, V. (2014c) ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 135–151. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.

Angelaki, V. (2014d) ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 135–151.

Angelaki, V. (2014e) ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 135–151.

Angelaki, V. (2017) Social and political theatre in 21st-century Britain: staging crisis. London: Bloomsbury Academic. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781474213196.

Angelaki, V. (no date a) Contemporary British Theatre: Breaking New Ground. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430.

Angelaki, V. (no date b) Contemporary British Theatre: Breaking New Ground. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430.

Angelaki, V. (no date c) ‘“Politics for the Middle Classes: Contemporary Audiences and the Violence of Now” IN Contemporary British theatre: breaking new ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground, pp. 57–78. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.

Angel-Perez, E. (2013) ‘“Language Games and Literary Constraints: Playing with Tragedy in the Theatre of Caryl Churchill and Martin Crimp” IN Contemporary British Theatre: Breaking New Ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan, pp. 79–95. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670.

Angel-Perez, E. (no date) ‘“Language Games and Literary Constraints: Playing with Tragedy in the Theatre of Caryl Churchill and Martin Crimp” IN Contemporary British theatre: breaking new ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground, pp. 79–95. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.

Annabelle Singer (2004a) ‘Don’t Want to Be This: The Elusive Sarah Kane’, TDR (1988-), 48(2), pp. 139–171. Available at: http://www.jstor.org/stable/4488558.

Annabelle Singer (2004b) ‘Don’t Want to Be This: The Elusive Sarah Kane’, TDR (1988-), 48(2), pp. 139–171. Available at: https://www.jstor.org/stable/4488558?seq=1#page_scan_tab_contents.

Aragay, M. (2007a) British theatre of the 1990s: interviews with directors, playwrights, critics, and academics. Basingstoke: Palgrave Macmillan.

Aragay, M. (2007b) British Theatre of the 1990s: Interviews With Directors, Playwrights, Critics and Academics. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=339164.

Aragay, M. (2007c) British theatre of the 1990s: interviews with directors, playwrights, critics, and academics. Basingstoke: Palgrave Macmillan.

Aragay, M. (2007d) British Theatre of the 1990s: Interviews With Directors, Playwrights, Critics and Academics. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=339164.

Aragay, M. and Monforte, E. (2013a) ‘Racial Violence, Witnessing and Emancipated Spectatorship in the Colour of Justice, Fallout and Random’, in Contemporary British theatre: breaking new ground, pp. 297–313. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.

Aragay, M. and Monforte, E. (2013b) ‘Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and random’, in V. Angelaki (ed.) Contemporary British Theatre: Breaking New Ground. Basingstoke: Palgrave Macmillan, pp. 297–313.

Aragay, M. and Monforte, E. (2013c) ‘Racial Violence, Witnessing and Emancipated Spectatorship in the Colour of Justice, Fallout and Random’, in Contemporary British Theatre: Breaking New Ground, pp. 96–120. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.

Aragay, M. and Monforte, E. (2013d) ‘"Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and random’" IN Contemporary British theatre: breaking new ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan, pp. 96–120. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670.

Aragay, M. and Monforte, E. (eds) (2014) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13401091540002671&institutionId=2671&customerId=2670.

Aston, E. (2003a) Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge: Cambridge University Press.

Aston, E. (2003b) Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge, England: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=16040.

Aston, E. (2003c) Feminist views on the English stage: women playwrights, 1990-2000. Cambridge: Cambridge University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13400858210002671&institutionId=2671&customerId=2670.

Aston, E. (2003d) Feminist views on the English stage: women playwrights, 1990-2000. Cambridge, England: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=16040.

Aston, E. (2010) Caryl Churchill. Tavistock: Northcote. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780746312513.

Aston, E. (2011a) ‘Reviewing the Fabric of Blasted’, in Sarah Kane in Context. Manchester: Manchester University Press, pp. 13–27.

Aston, E. (2011b) ‘“Reviewing the fabric of Blasted” IN Sarah Kane in context’, in Sarah Kane in context. Manchester: Manchester University Press, pp. 13–27.

Aston, E. and British Council (2001) Caryl Churchill. 2nd ed. Plymouth: Northcote House in association with the British Council.

Aston, E. and Diamond, E. (2009) The Cambridge Companion to Caryl Churchill. Cambridge: Cambridge University Press.

Aston, E. and Reinelt, J. (2000) The Cambridge companion to modern British women playwrights. Cambridge: Cambridge University Press.

Barker, H. (1993) Arguments for a theatre. 2nd ed. Manchester: Manchester University Press.

Barnett, D. (2008) ‘When is a Play not a Drama? Two Examples of Postdramatic Theatre Texts’, New Theatre Quarterly, 24(01). Available at: https://doi.org/10.1017/S0266464X0800002X.

Barry, E. and Boles, W. (2006a) ‘Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams’, in Alternatives Within the Mainstream: British Black and Asian Theatres. Buckinghamshire: Cambridge Scholars Press, pp. 297–313.

Barry, E. and Boles, W. (2006b) ‘Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams’, in Alternatives Within the Mainstream: British Black and Asian Theatres. Buckinghamshire: Cambridge Scholars Press, pp. 297–313.

Barry, E. and Boles, W. (2006c) ‘“Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams” IN Alternatives within the mainstream: British Black and Asian theatres’, in Alternatives within the mainstream: British Black and Asian theatres. Buckinghamshire: Cambridge Scholars Press, pp. 297–313. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781443802864.

Bartlett, M. (2011a) 13. London: Methuen Drama.

Bartlett, M. (2011b) ‘13’, in 13. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408175187.00000003.

Berninger, M. (2002a) ‘A Crucible of Two Cultures: Timberlake Wertenbaker’s After Darwin and Science in Recent British Theatre’, Gramma: Journal of Theory and Criticism. Available at: http://www.enl.auth.gr/gramma/gramma02/Berninger.pdf.

Berninger, M. (2002b) ‘A Crucible of Two Cultures: Timberlake Wertenbaker’s After Darwin and Science in Recent British Theatre’, Gramma: Journal of Theory and Criticism. Available at: http://www.enl.auth.gr/gramma/gramma02/Berninger.pdf.

Billingham, P. (2007a) At the sharp end: uncovering the work of five contemporary dramatists. London: Methuen Drama.

Billingham, P. (2007b) At the sharp end: uncovering the work of five contemporary dramatists. London: Methuen Drama.

Billingham, P. (2007c) At the sharp end: uncovering the work of five contemporary dramatists. London: Methuen Drama.

Billingham, P. (2007d) At the sharp end: uncovering the work of five contemporary dramatists. London: Methuen Drama.

Billington, M. (2007) State of the nation: British theatre since 1945. London: Faber and Faber.

Birringer, J. (1991) Theatre, theory, postmodernism. Bloomington: Indiana University Press.

Boireau, N. (1997) Drama on drama: dimensions of theatricality on the contemporary British stage. Basingstoke: Macmillan.

Boll, J. (2013a) The New War plays: from Kane to Harris. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Boll, J. (2013b) The New War plays: from Kane to Harris. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Bolton, J. (2010) ‘Simon Stephens’, in Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009. London: Bloomsbury, pp. 101–124.

Bolton, J. (2012) ‘“Simon Stephens” IN Modern British playwriting: voices, documents, new interpretations, The 1990s’, in Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama, pp. 101–124.

Boon, R. (2006a) About Hare: The Playwright and the Work. London: Faber.

Boon, R. (2006b) About Hare: The Playwright and the Work. London: Faber.

Boon, R. (2006c) About Hare: The Playwright and the Work. London: Faber.

Boon, R. (2007a) The Cambridge Companion to David Hare. Cambridge: Cambridge University Press.

Boon, R. (ed.) (2007b) The Cambridge Companion to David Hare. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544.

Boon, R. (ed.) (2007c) The Cambridge Companion to David Hare. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544.

Boon, R. (2007d) The Cambridge Companion to David Hare. Cambridge: Cambridge University Press.

Boon, R. (ed.) (2007e) The Cambridge Companion to David Hare. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544.

Boon, R. (2007f) The Cambridge Companion to David Hare. Cambridge: Cambridge University Press.

Brady, S. (2012a) Performance, politics, and the War on Terror: ‘whatever it takes’. Basingstoke: Palgrave Macmillan.

Brady, S. (2012b) Performance, politics, and the War on Terror: ‘whatever it takes’. Basingstoke: Palgrave Macmillan.

Brenton, H. (2005a) ‘Paul’, in Paul. London: Nick Hern. Available at: https://doi.org/10.5040/9781784600082.00000002.

Brenton, H. (2005b) Paul. London: Nick Hern.

Brown, I. (2011) The Edinburgh companion to Scottish drama. Edinburgh: Edinburgh University Press.

Buffini, M. (2010a) Welcome to Thebes. London: Faber and Faber.

Buffini, M. (2010b) ‘Welcome to Thebes’, in Welcome to Thebes. London: Faber and Faber. Available at: https://doi.org/10.5040/9780571289974.00000006.

Bush, S. (2013a) The theatre of Timberlake Wertenbaker. London: Bloomsbury.

Bush, S. (2013b) The theatre of Timberlake Wertenbaker. London: Bloomsbury.

Cambridge Companions Complete Collection (2000) The Cambridge Companion to Modern British Women Playwrights. Edited by E. Aston and J. Reinelt. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521594226.

Cambridge Companions Complete Collection (2009a) The Cambridge Companion to Caryl Churchill. Edited by E. Aston and E. Diamond. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521493222.

Cambridge Companions Complete Collection (2009b) The Cambridge Companion to Harold Pinter. Edited by P. Raby. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093.

Cambridge Companions Complete Collection (2009c) The Cambridge Companion to Harold Pinter. Edited by P. Raby. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093.

Capancioni, C. and Eyrle, S. (2012a) ‘‘"Have you no compassion?”: Danny Boyle’s and Nick Dear’s Re-examination of Monstrosity in Frankenstein’’, Textus: English Studies in Italy, 3, pp. 133–146.

Capancioni, C. and Eyrle, S. (2012b) ‘‘"Have you no compassion?”: Danny Boyle’s and Nick Dear’s Re-examination of Monstrosity in Frankenstein’’, Textus: English Studies in Italy, 3, pp. 133–146.

Cave, R.A. (1989) New British drama in performance on the London stage, 1970 to 1985. Gerrards Cross: Colin Smythe.

Chambers, C. (2002) The Continuum companion to twentieth century theatre. London: Continuum.

Chambers, C. (2004) Inside the Royal Shakespeare Company: creativity and the institution. New York: Routledge.

Chambers, C. (2011a) Black and Asian theatre in Britain: a history. London: Routledge.

Chambers, C. (2011b) Black and Asian theatre in Britain: a history. London: Routledge.

Chambers, C. and Gottlieb, V. (1999) Theatre in a cool climate. Oxford: Amber Lane.

Christopher Wixson (2005a) ‘“In Better Places”: Space, Identity, and Alienation in Sarah Kane’s “Blasted”’, Comparative Drama, 39(1), pp. 75–91. Available at: http://www.jstor.org/stable/41154260.

Christopher Wixson (2005b) ‘“In Better Places”: Space, Identity, and Alienation in Sarah Kane’s “Blasted”’, Comparative Drama, 39(1), pp. 75–91. Available at: http://www.jstor.org/stable/41154260?seq=1#page_scan_tab_contents.

Churchill, C. (2000a) Far away. London: Nick Hern.

Churchill, C. (2000b) ‘Far Away’, in Far away. London: Nick Hern. Available at: https://doi.org/10.5040/9781784602420.00000003.

Churchill, C. (2002a) Serious Money. London: Methuen.

Churchill, C. (2002b) Serious Money. London: Methuen. Available at: https://doi.org/10.5040/9781408169520.00000121.

Clements, R. (2014) ‘Deconstructive Techniques and Spectral Technologies in Katie Mitchell’s’, Contemporary Theatre Review, 24(3), pp. 331–341. Available at: https://doi.org/10.1080/10486801.2014.921051.

Cousin, G. (1989) Churchill: the playwright. London: Methuen.

Dan Rebellato Blog (no date). Available at: http://www.danrebellato.co.uk/links/.

Dear, N. and Shelley, M.W. (2011a) Frankenstein. London: Faber and Faber.

Dear, N. and Shelley, M.W. (2011b) ‘Frankenstein’, in Frankenstein. London: Faber and Faber. Available at: https://doi.org/10.5040/9780571294060.00000006.

Derbyshire, H. (2007) ‘Roy Williams: Representing Multicultural Britain in Fallout’, Modern Drama, 50(3), pp. 414–434. Available at: https://doi.org/10.1353/mdr.2007.0054.

Devine, H. (2006a) Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.

Devine, H. (2006b) Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.

Devine, H. (2006c) Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.

Devine, H. (2006d) Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.

Devine, H. (2006e) Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.

(Dis)continuities: Trends and traditions in contemporary theatre and drama in English : papers given on the occasion of the tenth annual conference of ... in English (no date).

D’Monté, R. and Saunders, G. (2007a) Cool Britannia?: British Political Drama in the 1990s. Basingstoke: Palgrave Macmillan.

D’Monté, R. and Saunders, G. (2007b) Cool Britannia?: British Political Drama in the 1990s. Basingstoke: Palgrave Macmillan.

D’Monté, R. and Saunders, G. (2007c) Cool Britannia?: British Political Drama in the 1990s. Basingstoke: Palgrave Macmillan.

‘Doing a Geographical’ (2006a) Contemporary Theatre Review, 16(1), pp. 144–164. Available at: https://doi.org/10.1080/10486800600671502.

‘Doing a Geographical’ (2006b) Contemporary Theatre Review, 16(1), pp. 144–164. Available at: https://doi.org/10.1080/10486800600671502.

Dorney, K. (2009a) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.

Dorney, K. (2009b) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.

Dorney, K. (2009c) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.

Dorney, K. (2009d) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.

Dorney, K. (2009e) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.

Dorney, K. (2009f) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.

Dorney, K. (2009g) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.

Dorney, K. (2009h) The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.

Dromgoole, D. (2000) The full room: an A-Z of contemporary playwriting. London: Methuen.

Duggan, P. (2012a) Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester: Manchester University Press.

Duggan, P. (2012b) Trauma-tragedy: symptoms of contemporary performance. Manchester: Manchester University Press.

Duggan, P. (2012c) Trauma-tragedy: symptoms of contemporary performance. Manchester: Manchester University Press.

Duggan, P. (2012d) Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester: Manchester University Press.

Eatough, G. and Rebellato, D. (2013a) The Suspect Culture Book. London: Oberon Books.

Eatough, G. and Rebellato, D. (2013b) The Suspect Culture Book. London: Oberon Books.

Edelman, J. (no date a) Performing Religion in Public. Edited by C. Chambers and S. Du Toit. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1514274.

Edelman, J. (no date b) Performing Religion in Public. Edited by C. Chambers and S. Du Toit. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1514274.

Edelman, J., Chambers, C. and Du Toit, S. (eds) (2013a) Performing religion in public. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Edelman, J., Chambers, C. and Du Toit, S. (eds) (2013b) Performing religion in public. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Edgar, D. (1999a) Playwrights on playwriting. Faber.

Edgar, D. (1999b) Playwrights on playwriting. Faber.

Eldridge, D. (2006) Market boy. London: Methuen Drama.

Eldridge, D. (2012) ‘Market Boy’, in Plays 2. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408174982.00000005.

Eyre, R. and Wright, N. (2000) Changing stages: a view of British theatre in the twentieth century. London: Bloomsbury.

Fisher, J. (2011a) To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co.

Fisher, J. (2011b) To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726.

Fisher, J. (2011c) To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726.

Fisher, J. (2011d) To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co.

Fisher, J. (2011e) To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726.

Fisher, J. (2011f) To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co.

Forsyth, A. and Megson, C. (2009a) Get Real: Documentary Theatre Past and Present. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309.

Forsyth, A. and Megson, C. (2009b) Get Real: Documentary Theatre Past and Present. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309.

Forsyth, A. and Megson, C. (2009c) Get Real: Documentary Theatre Past and Present. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309.

Forsyth, A. and Megson, C. (2011a) Get Real: Documentary Theatre Past and Present. [New ed.]. Basingstoke: Palgrave Macmillan.

Forsyth, A. and Megson, C. (2011b) Get Real: Documentary Theatre Past and Present. [New ed.]. Basingstoke: Palgrave Macmillan.

Forsyth, A. and Megson, C. (2011c) Get Real: Documentary Theatre Past and Present. [New ed.]. Basingstoke: Palgrave Macmillan.

Fuchs, E. (1996) The death of character: perspectives on theater after modernism. Bloomington: Indiana University Press.

Gary Cassidy (2013a) ‘Psychological Liminality in Anthony Neilson’s The Wonderful World of Dissocia.’, International Journal of Scottish Theatre and Screen, 6(1), pp. 54–81. Available at: http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/165/pdf_3.

Gary Cassidy (2013b) ‘Psychological Liminality in Anthony Neilson’s The Wonderful World of Dissocia.’, International Journal of Scottish Theatre and Screen, 6(1), pp. 54–81. Available at: http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/165/pdf_3.

Gharavi, L. (2012a) Religion, theatre, and performance: acts of faith. New York: Routledge.

Gharavi, L. (2012b) Religion, theatre, and performance: acts of faith. New York: Routledge.

God is behind some of our greatest art (no date). Available at: https://www.theguardian.com/stage/theatreblog/2008/apr/14/godisbehindsomeofourgrea.

Goddard, L. (2007a) Staging black feminisms: identity, politics, performances. New York: Palgrave Macmillan.

Goddard, L. (2007b) Staging black feminisms: identity, politics, performances. Basingstoke: Palgrave Macmillan. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=85740.

Goddard, L. (2007c) Staging black feminisms: identity, politics, performances. Basingstoke: Palgrave Macmillan. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=85740.

Goddard, L. (2007d) Staging black feminisms: identity, politics, performances. New York: Palgrave Macmillan.

Goddard, L. (2015a) ‘“Chapter One: Beyond Identity Politics: Black British Playwrights on the Mainstream” IN Contemporary Black British playwrights: margins to mainstream’, in Contemporary Black British playwrights: margins to mainstream. New York: Palgrave Macmillan, pp. 3–17.

Goddard, L. (2015b) Contemporary Black British playwrights: margins to mainstream. New York: Palgrave Macmillan.

Goddard, L. (2015c) Contemporary Black British playwrights: margins to mainstream. New York: Palgrave Macmillan.

Godiwala, D. (2006) Alternatives within the mainstream: British Black and Asian theatres. Buckinghamshire: Cambridge Scholars Press.

green, debbie tucker (2008) ‘random’, in random. Nick Hern Books. Available at: https://doi.org/10.5040/9781784601256.00000002.

green, debbie tucker (2013) ‘nut’, in Nut. London: Nick Hern Books. Available at: https://doi.org/10.5040/9781784601270.00000002.

Green, D.T. (2008) Random. London: Nick Hern.

Green, D.T. (2013) Nut. London: Nick Hern Books.

Greig, D. (2003) San Diego. London: Faber and Faber.

Greig, D. et al. (2005a) ‘New Theatre Writing: Simon Stephens’’, Contemporary Theatre Review, 15(1), pp. 156–187. Available at: https://doi.org/10.1080/1048680052000342557.

Greig, D. et al. (2005b) ‘New Theatre Writing: Simon Stephens’’, Contemporary Theatre Review, 15(1), pp. 156–187. Available at: https://doi.org/10.1080/1048680052000342557.

Greig, D. (2007a) ‘"Rough Theatre’" IN Cool Britannia?: British political drama in the 1990s’, in Cool Britannia?: British political drama in the 1990s. Basingstoke: Palgrave Macmillan, pp. 208–221.

Greig, D. (2007b) ‘“Rough Theatre” IN Cool Britannia? British Political Drama in the 1990s’, in Cool Britannia?: British political drama in the 1990s. Basingstoke: Palgrave Macmillan, pp. 208–221.

Greig, D. (2010) ‘San Diego’, in Selected Plays 1999-2009. Faber and Faber. Available at: https://doi.org/10.5040/9780571286447.00000007.

Griffin, G. (2003) Contemporary Black and Asian women playwrights in Britain. Cambridge: Cambridge University Press. Available at: http://dx.doi.org/10.1017/CBO9780511486036.

Griffin, G. and American Council of Learned Societies (2003) Contemporary Black and Asian women playwrights in Britain. Cambridge, UK: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07607.

Griffiths, T.R. and Llewellyn-Jones, M. (1993) British and Irish women dramatists since 1958: a critical handbook. Buckingham: Open University Press.

Habermas, J. (no date a) Notes on a post-secular society. Available at: http://www.signandsight.com/features/1714.html.

Habermas, J. (no date b) Notes on a post-secular society. Available at: http://www.signandsight.com/features/1714.html.

Hare, D. (1990) Racing demon. London: Faber.

Hare, D. (1991a) Writing Left-Handed. London: Faber and Faber.

Hare, D. (1991b) Writing left-handed. London: Faber and Faber.

Hare, D. (1991c) Writing left-handed. London: Faber and Faber.

Hare, D. (1991d) Writing Left-Handed. London: Faber and Faber.

Hare, D. (2001) Racing Demon. Faber and Faber. Available at: http://www.dramaonlinelibrary.com/plays/racing-demon-iid-19583.

Hare, D. (2007) Obedience, Struggle & Revolt: Lectures on Theatre. London: Faber.

Hare, D. (2009a) The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. London: Faber and Faber.

Hare, D. (2009b) The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. London: Faber and Faber. Available at: https://doi.org/10.5040/9780571286461.10000005.

Hare, D. (no date a) Obedience, Struggle and Revolt. Faber and Faber.

Hare, D. (no date b) Obedience, Struggle and Revolt. Faber and Faber.

Hare, D. and Haill, L. (1993a) Asking around: background to the David Hare trilogy. London: Faber and Faber.

Hare, D. and Haill, L. (1993b) Asking around: background to the David Hare trilogy. London: Faber and Faber.

Harpin, A. and Foster, J.L.H. (eds) (2014a) Performance, madness and psychiatry: isolated acts. Basingstoke, Hampshire: Palgrave Macmillan.

Harpin, A. and Foster, J.L.H. (eds) (2014b) Performance, madness and psychiatry: isolated acts. Basingstoke, Hampshire: Palgrave Macmillan.

Harry Derbyshire (2007) ‘Roy Williams: Representing Multicultural Britain in Fallout’, Modern Drama, 50(3), pp. 414–434. Available at: https://doi.org/10.1353/mdr.2007.0054.

Harvie, J. (2005) Staging the UK. Manchester, UK: Manchester University Press.

Hingorani, D. (2010) British Asian theatre: dramaturgy, process and performance. Basingstoke: Palgrave Macmillan.

Holdsworth, N. (2003a) ‘Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre’, Contemporary Theatre Review, 13(2), pp. 25–39. Available at: https://doi.org/10.1080/920087167.

Holdsworth, N. (2003b) ‘Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre’, Contemporary Theatre Review, 13(2), pp. 25–39. Available at: https://doi.org/10.1080/920087167.

Holdsworth, N. (2007) ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’, in A Concise Companion to Contemporary British and Irish Drama. Malden, Mass: Blackwell, pp. 125–145. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.

Holdsworth, N. (2008a) ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’, in A Concise Companion to Contemporary British and Irish Drama. Malden, MA: Blackwell, pp. 125–145.

Holdsworth, N. (2008b) ‘“The Landscape of Contemporary Scottish Identity: Place, Politics and Identity”  IN A concise companion to contemporary British and Irish drama’, in A concise companion to contemporary British and Irish drama. Malden, MA: Blackwell, pp. 125–145. Available at: http://lib.myilibrary.com/Open.aspx?id=106920.

Holdsworth, N. (2013a) ‘“David Greig” IN Modern British playwriting: voices, documents, new interpretations, 2000-2009’, in D. Rebellato (ed.) Modern British playwriting: voices, documents, new interpretations, 2000-2009. London: Bloomsbury, pp. 169–189.

Holdsworth, N. (2013b) ‘“David Greig” IN Modern British playwriting: voices, documents, new interpretations, 2000-2009’, in D. Rebellato (ed.) Modern British playwriting: voices, documents, new interpretations, 2000-2009. London: Bloomsbury, pp. 169–189.

Holdsworth, N. and Luckhurst, M. (2007) A concise companion to contemporary British and Irish drama. Malden, Mass: Blackwell. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.

Homden, C. (1995a) The Plays of David Hare. Cambridge: Cambridge University Press.

Homden, C. (1995b) The Plays of David Hare. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CBO9780511627668.

Homden, C. (1995c) The Plays of David Hare. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CBO9780511627668.

Homden, C. (1995d) The Plays of David Hare. Cambridge: Cambridge University Press.

Iball, H. (2008a) Sarah Kane’s Blasted. London: Continuum.

Iball, H. (2008b) Sarah Kane’s Blasted. London: Continuum. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787.

Iball, H. (2008c) Sarah Kane’s Blasted. London: Continuum. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787.

Iball, H. (2008d) Sarah Kane’s Blasted. London: Continuum.

Innes, C. (2002) Modern British drama: the twentieth century. New York: Cambridge University Press.

Innes, C. (2011a) ‘Simon Stephens’, in The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, pp. 445–465.

Innes, C. (2011b) ‘“Simon Stephens” IN The Methuen drama guide to contemporary British playwrights’, in The Methuen drama guide to contemporary British playwrights. London: Methuen Drama, pp. 445–465. Available at: http://lib.myilibrary.com?id=604121.

Innes, C. (2011c) ‘“Simon Stephens” IN The Methuen drama guide to contemporary British playwrights’, in The Methuen drama guide to contemporary British playwrights. London: Methuen Drama, pp. 445–465. Available at: http://lib.myilibrary.com?id=604121.

Innes, C. (2011d) ‘“Simon Stephens” IN The Methuen Drama guide to contemporary British playwrights’, in The Methuen Drama guide to contemporary British playwrights. London: Methuen Drama, pp. 445–465.

Jones, C. (2001) Humble boy. London: Faber and Faber.

Jones, C. (2004) ‘Humble Boy’, in Charlotte Jones Plays 1. Faber and Faber. Available at: https://doi.org/10.5040/9780571289509.00000069.

Jürs-Munby, K., Carroll, J. and Giles, S. (eds) (2013) Postdramatic theatre and the political: international perspectives on contemporary performance. London: Bloomsbury.

Kane, S. and Urban, K. (2011) Blasted. London: Methuen Drama.

Kelleher, J. (2009) Theatre & Politics. Basingstoke: Palgrave Macmillan.

King, M. (2009a) Postsecularism: the hidden challenge to extremism. Cambridge: James Clarke.

King, M. (2009b) Postsecularism: the hidden challenge to extremism. Cambridge: James Clarke.

Kirkwood, L. (2013a) Chimerica. Revised edition. London: Nick Hern Books.

Kirkwood, L. (2013b) ‘Chimerica’, in Chimerica. Revised edition. London: Nick Hern Books. Available at: https://doi.org/10.5040/9781784600266.00090006.

Kritzer, A.H. (1990) The plays of Caryl Churchill: theatre of empowerment. London: Macmillan.

Kritzer, A.H. (2008a) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan.

Kritzer, A.H. (2008b) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.

Kritzer, A.H. (2008c) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.

Kritzer, A.H. (2008d) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan.

Kritzer, A.H. (2008e) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.

Kritzer, A.H. (2008f) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan.

Kritzer, A.H. (2008g) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.

Kritzer, A.H. (2008h) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan.

Kritzer, A.H. (2008i) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.

Kritzer, A.H. (2008j) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan.

Kritzer, A.H. (2008k) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.

Kritzer, A.H. (2008l) Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Basingstoke: Palgrave Macmillan.

Kustow, M. (2000) Theatre@risk. London: Methuen.

Kwei-Armah, K. (2003) Elmina’s kitchen. London: Methuen.

Kwei-Armah, K. (2009) ‘Elmina’s Kitchen’, in Plays :1. London: Methuen Drama. Available at: https://doi.org/10.5040/9781350025882.00000012.

Lane, D. (2010a) Contemporary British Drama. Edinburgh: Edinburgh University Press.

Lane, D. (2010b) Contemporary British Drama. Edinburgh: Edinburgh University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.

Lane, D. (2010c) Contemporary British Drama. Edinburgh: Edinburgh University Press.

Lane, D. (2010d) Contemporary British drama. Edinburgh: Edinburgh University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.

Lane, D. (2010e) Contemporary British Drama. Edinburgh: Edinburgh University Press.

Lane, D. (2010f) Contemporary British drama. Edinburgh: Edinburgh University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.

Lane, D. (2010g) Contemporary British Drama. Edinburgh: Edinburgh University Press.

Lane, D. (2010h) Contemporary British drama. Edinburgh: Edinburgh University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.

Lehmann, H.-T. (2006a) Postdramatic Theatre. Abingdon: Routledge.

Lehmann, H.-T. (2006b) Postdramatic Theatre. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406.

Lehmann, H.-T. (2006c) Postdramatic Theatre. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406.

Lehmann, H.-T. (2006d) Postdramatic Theatre. Abingdon: Routledge.

Little, R. and McLaughlin, E. (2007) The Royal Court Theatre inside out. London: Oberon Books.

Luckhurst, M. (2003) ‘Political Point-Scoring: Martin Crimp’s Attempts on her Life’, Contemporary Theatre Review, 13(1), pp. 47–60. Available at: https://doi.org/10.1080/1048680032000086468.

Luckhurst, M. (2005a) ‘Infamy and Dying Young: Sarah Kane, 1971-1999’, in Theatre and Celebrity in Britain, 1660-2000. New York: Palgrave Macmillan, pp. 107–126.

Luckhurst, M. (2005b) ‘Infamy and Dying Young: Sarah Kane, 1971-1999’, in Theatre and Celebrity in Britain, 1660-2000. New York: Palgrave Macmillan, pp. 107–126. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780230523845.

Luckhurst, M. (2005c) ‘Infamy and Dying Young: Sarah Kane, 1971-1999’, in Theatre and Celebrity in Britain, 1660-2000. New York: Palgrave Macmillan, pp. 107–126.

Luckhurst, M. (2006) A Companion to Modern British and Irish Drama, 1880-2005. Malden, Mass: Blackwell. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=350880.

Luckhurst, M. (2010a) A companion to modern British and Irish drama, 1880-2005. Pbk. ed. Chichester: Wiley-Blackwell.

Luckhurst, M. (2010b) ‘Sarah Kane: From Terror to Trauma’, in A Companion to Modern British and Irish Drama, 1880-2005. Pbk. ed. Chichester: Wiley-Blackwell, pp. 371–382. Available at: http://ezproxy01.rhul.ac.uk/login?url=https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780470751473.

Lustgarten, A. (2010) ‘A Day At The Racists’, in A Day at the Racists. Bloomsbury Publishing. Available at: https://doi.org/10.5040/9781408184608.00000002.

Lustgarten, A. (2013a) If you don’t let us dream, we won’t let you sleep. London: Bloomsbury Methuen Drama.

Lustgarten, A. (2013b) ‘If You Don’t Let Us Dream, We Won’t Let You Sleep’, in If you don’t let us dream, we won’t let you sleep. London: Bloomsbury Methuen Drama. Available at: https://doi.org/10.5040/9781472506733.00000006.

Marsh, N. (2011a) ‘Desire and Disease in the Speculative Economy: a critique of the language of crisis’, Journal of Cultural Economy, 4(3), pp. 301–314. Available at: https://doi.org/10.1080/17530350.2011.586851.

Marsh, N. (2011b) ‘Desire and Disease in the Speculative Economy: a critique of the language of crisis’, Journal of Cultural Economy, 4(3), pp. 301–314. Available at: https://doi.org/10.1080/17530350.2011.586851.

McConachie, B.A. (2013a) Theatre & mind. Basingstoke, Hampshire: Palgrave Macmillan.

McConachie, B.A. (2013b) Theatre & mind. Basingstoke, Hampshire: Palgrave Macmillan.

McDowell, L. (2011a) ‘Making a Drama Out of a Crisis: Representing Financial Failure, or a Tragedy in Five Acts’, Transactions of the Institute of British Geographers, 36(2), pp. 193–205. Available at: http://www.jstor.org/stable/23020812.

McDowell, L. (2011b) ‘Making a Drama Out of a Crisis: Representing Financial Failure, or a Tragedy in Five Acts’, Transactions of the Institute of British Geographers, 36(2), pp. 193–205. Available at: http://www.jstor.org/stable/23020812.

Megson, C. (2012) Modern British playwriting: voices, documents, new interpretations, The 1970s. London: Methuen Drama.

Megson, C. (2013a) ‘‘"And I was struck still by time”: Contemporary British Theatre and the Metaphysical Imagination’ IN Contemporary British Theatre: Breaking New Ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan, pp. 32–56. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670.

Megson, C. (2013b) ‘"And I was struck still by time”: Contemporary British Theatre and the Metaphysical Imagination" IN Contemporary British theatre: breaking new ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan, pp. 32–56. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670.

Megson, C. (2016a) ‘Beyond Belief: British Theatre and the “Re-Enchantment of the World”’, in Twenty-First Century Drama: What Happens Now. London: Palgrave Macmillan, pp. 37–57. Available at: http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.

Megson, C. (2016b) ‘Beyond Belief: British Theatre and the “Re-Enchantment of the World”’, in Twenty-First Century Drama: What Happens Now. London: Palgrave Macmillan, pp. 37–57. Available at: http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.

Megson, C. (2016c) ‘"Beyond Belief: British Theatre and the “re-enchantment of the world” IN Twenty-first century drama: what happens now’, in S.H. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 37–57.

Megson, C. (2016d) ‘"Beyond Belief: British Theatre and the “re-enchantment of the world” IN Twenty-first century drama: what happens now’, in S.H. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 37–57.

Megson, C. (no date a) ‘"And I was struck still by time”: Contemporary British Theatre and the Metaphysical Imagination’ IN Contemporary British theatre: breaking new ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground, pp. 32–56. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.

Megson, C. (no date b) ‘"And I was struck still by time”: Contemporary British Theatre and the Metaphysical Imagination" IN Contemporary British theatre: breaking new ground’, in V. Angelaki (ed.) Contemporary British theatre: breaking new ground, pp. 32–56. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.

Middeke, M. (2014a) ‘The Undecidable and the Event: Ethics of Unrest in Martin Crimp’s Attempts on Her Life and Debbie Tucker Green’s Truth and Reconciliation’, in Ethical Speculations in Contemporary British Theatre, pp. 96–113. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137297570.

Middeke, M. (2014b) ‘“The Undecidable and the Event: Ethics of Unrest in Martin Crimp’s Attempts on Her Life and debbie tucker green’s truth and reconciliation” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 96–113. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9002485320002671&institutionId=2671&customerId=2670.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011a) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011b) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011c) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011d) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011e) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011f) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011g) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011h) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011i) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011j) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011k) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011l) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011m) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011n) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011o) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. Available at: http://lib.myilibrary.com?id=604121.

Middeke, M., Schnierer, P.P. and Sierz, A. (2011p) The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.

Milling, J. (2012a) Modern British playwriting: voices, documents, new interpretations, The 1980s. London: Methuen Drama.

Milling, J. (2012b) Modern British Playwriting: Voices, Documents, New Interpretations, the 1980s. London: Methuen Drama. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1080374.

Neilson, A. (1998a) ‘Penetrator’, in Plays 1. London: Methuen.

Neilson, A. (1998b) ‘Penetrator’, in Plays 1. London: Methuen. Available at: https://doi.org/10.5040/9781408175088.00000041.

Neilson, A. (2007a) The wonderful world of Dissocia. London: Methuen Drama.

Neilson, A. (2007b) The wonderful world of Dissocia. London: Methuen Drama.

Nevitt, L. (2013a) Theatre & Violence. Basingstoke: Palgrave Macmillan.

Nevitt, L. (2013b) Theatre & Violence. Basingstoke: Palgrave Macmillan.

Nicholas Ruddick (no date) ‘The Search for a Quantum Ethics: Michael Frayn’s Copenhagen and Other Recent British Science Plays’, Hungarian Journal of English and American Studies (HJEAS), 6(1), pp. 119–137. Available at: http://www.jstor.org/stable/41274077?seq=1#page_scan_tab_contents.

Nicholson, S. (2012a) Modern British playwriting: voices, documents, new interpretations, the 1960s. London: Methuen Drama.

Nicholson, S. (2012b) Modern British Playwriting: Voices, Documents, New Interpretations, the 1960s. London: Methuen Drama. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1080373.

Nick Ruddick (2001) ‘The Search for a Quantum Ethics: Michael Frayn’s “Copenhagen” and Other Recent British Science Plays’, Journal of the Fantastic in the Arts, 11(4), pp. 415–431. Available at: http://www.jstor.org/stable/43308478.

Nield, S. (2015a) ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’, in The Grammar of Politics and Performance. London: Routledge, pp. 121–133. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871.

Nield, S. (2015b) ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’, in The Grammar of Politics and Performance. London: Routledge, pp. 121–133. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871.

Nield, S. (2016) ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’, in S. Rai and J.G. Reinelt (eds) The grammar of politics and performance. London: Routledge, pp. 121–133.

Nielsen, L.D. and Ybarra, P.A. (2012a) Neoliberalism and global theatres: performance permutations. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Nielsen, L.D. and Ybarra, P.A. (2012b) Neoliberalism and Global Theatres: Performance Permutations. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590.

Nielsen, L.D. and Ybarra, P.A. (2012c) Neoliberalism and Global Theatres: Performance Permutations. Basingstoke: Palgrave Macmillan. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590.

Nielsen, L.D. and Ybarra, P.A. (2012d) Neoliberalism and global theatres: performance permutations. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Obedience, Struggle and Revolt (no date a). Faber and Faber. Available at: https://doi.org/10.5040/9780571284870.

Obedience, Struggle and Revolt (no date b). Faber and Faber. Available at: http://www.dramaonlinelibrary.com/context-and-criticism/obedience-struggle-and-revolt-iid-19027.

Osborne, Dierdre (2011a) ‘Roy Williams’, in The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, pp. 487–509.

Osborne, Dierdre (2011b) ‘“Roy Williams” IN The Methuen drama guide to contemporary British playwrights’, in The Methuen drama guide to contemporary British playwrights. London: Methuen Drama, pp. 487–509. Available at: http://lib.myilibrary.com?id=604121.

Osborne, Dierdre (2011c) ‘“Roy Williams” IN The Methuen drama guide to contemporary British playwrights’, in The Methuen Drama guide to contemporary British playwrights. London: Methuen Drama, pp. 487–509.

Osborne, Diedre (2011) ‘“Roy Williams” IN The Methuen drama guide to contemporary British playwrights’, in The Methuen drama guide to contemporary British playwrights. London: Methuen Drama, pp. 487–509. Available at: http://lib.myilibrary.com?id=604121.

O’Thomas, M. (2016a) ‘Translating Austerity: Theatrical Responses to the Financial Crisis’, in S.H. Adiseshiah and L. LePage (eds) Twenty-First Century Drama: What Happens Now. London: Palgrave Macmillan, pp. 129–48.

O’Thomas, M. (2016b) ‘Translating Austerity: Theatrical Responses to the Financial Crisis’, in S.H. Adiseshiah and L. LePage (eds) Twenty-First Century Drama: What Happens Now. London: Palgrave Macmillan, pp. 129–48. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137484031.

O’Thomas, M. (2016c) ‘“Translating Austerity: Theatrical Responses to the Financial Crisis” IN Twenty-first century drama: what happens now’, in S.H. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 129–48.

Owen, L. (2016a) ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-first century drama: what happens now’, in S.H. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 107–127.

Owen, L. (2016b) ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-first century drama: what happens now’, in S. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 107–127. Available at: http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.

Owen, L. (2016c) ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-first century drama: what happens now’, in S. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 107–127. Available at: http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.

Owen, L. (2016d) ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-first century drama: what happens now’, in S.H. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 107–127.

Patterson, M. (2003) Strategies of political theatre: post-war British playwrights. Cambridge: Cambridge University Press.

Patterson, M. and American Council of Learned Societies (2003) Strategies of political theatre. Cambridge, UK: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07610.

Pattie, D. (2012a) Modern British playwriting: voices, documents, new interpretations, The 1950s. London: Methuen Drama.

Pattie, D. (2012b) Modern British Playwriting: Voices, Documents, New Interpretations, the 1950s. London: Methuen Drama. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1085187.

Payne, N. (2012a) Constellations. London: Faber.

Payne, N. (2012b) ‘Constellations’, in Constellations. London: Faber. Available at: https://doi.org/10.5040/9780571313655.00000006.

Peacock, D. (1999) Thatcher’s theatre: British theatre and drama in the eighties. Westport, Conn: Greenwood Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=495161.

Peacock, D.K. (1999) Thatcher’s theatre: British theatre and drama in the Eighties. Greenwood.

Peacock, K. (2006) ‘The Question of Multiculturalism: The Plays of Roy Williams’, in A Companion to Modern British and Irish Drama, 1880-2005. Malden, Mass: Blackwell, pp. 530–540. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780470751473.

Peacock, K. (2007a) ‘Black British Drama and the Politics of Identity’, in A Concise Companion to Contemporary British and Irish Drama. Malden, Mass: Blackwell, pp. 48–65. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.

Peacock, K. (2007b) ‘“Black British Drama and the Politics of Identity” IN A concise companion to contemporary British and Irish drama’, in A concise companion to contemporary British and Irish drama. Malden, Mass: Blackwell, pp. 48–65. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.

Peacock, K. (2007c) ‘“Black British Drama and the Politics of Identity” IN A concise companion to contemporary British and Irish drama’, in A concise companion to contemporary British and Irish drama. Malden, Mass: Blackwell, pp. 48–65.

Peacock, K. (2010a) ‘The Question of Multiculturalism: The Plays of Roy Williams’, in A Companion to Modern British and Irish Drama, 1880-2005. Pbk. ed. Chichester: Wiley-Blackwell, pp. 530–540.

Peacock, K. (2010b) ‘The Question of Multiculturalism: The Plays of Roy Williams’, in A Companion to Modern British and Irish Drama, 1880-2005. Pbk. ed. Chichester: Wiley-Blackwell, pp. 530–540. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780470751473.

Peacock, K. (2010c) ‘“The Question of Multiculturalism: The Plays of Roy Williams” IN’, in A companion to modern British and Irish drama, 1880-2005. Pbk. ed. Chichester: Wiley-Blackwell, pp. 530–540.

Pearce, Micheal (2013) ‘Roy Williams’, in D. Rebellato (ed.) Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009. London: Bloomsbury, pp. 145–168.

Pearce, Michael (2013) ‘“Roy Williams” IN Modern British playwriting: voices, documents, new interpretations, 2000-2009’, in D. Rebellato (ed.) Modern British playwriting: voices, documents, new interpretations, 2000-2009. London: Bloomsbury, pp. 145–168.

Penhall, J. (2000) Blue/orange. London: Methuen.

Pinter, H. (1993) ‘The New World Order’, in Party Time ; And, the New World Order: Two Plays. New York: Grove Press.

Pinter, H. (2012) ‘The New World Order’, in Harold Pinter: Plays 4. Faber and Faber. Available at: https://doi.org/10.5040/9780571291793.00000064.

Playwright’s Podcast - Royal Court (no date). Available at: https://royalcourttheatre.com/podcasts/.

Prebble, L. (2009a) Enron. London: Methuen Drama.

Prebble, L. (2009b) Enron. London: Methuen Drama. Available at: http://www.dramaonlinelibrary.com/plays/enron-iid-128921.

Prebble, L. (2013a) The effect. London: Bloomsbury Methuen Drama.

Prebble, L. (2013b) ‘The Effect’, in The effect. London: Bloomsbury Methuen Drama. Available at: https://doi.org/10.5040/9781408185094.00000006.

Price, T. (2012) ‘The Radicalisation of Bradley Manning’, in The Radicalisation of Bradley Manning. Bloomsbury Publishing. Available at: https://doi.org/10.5040/9781408172902.00000002.

Rabey, D.I. (2003) English drama since 1940. Harlow: Longman.

Rabillard, S.M. (1998) Essays on Caryl Churchill: contemporary representations. Winnipeg: Blizzard Pub.

Raby, P. (2009a) The Cambridge Companion to Harold Pinter. 2nd ed. Cambridge: Cambridge University Press.

Raby, P. (2009b) The Cambridge companion to Harold Pinter. 2nd ed. Cambridge: Cambridge University Press.

Rae, P. (2009a) Theatre & Human Rights. Basingstoke: Palgrave Macmillan.

Rae, P. (2009b) Theatre & Human Rights. Basingstoke: Palgrave Macmillan.

Rai, S. (2015) The Grammar of Politics and Performance. Edited by J.G. Reinelt. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871.

Randall, P.R. (1989) Caryl Churchill: a casebook. New York: Garland.

Ravenhill, M. (2008a) ‘Product’, in Plays 2. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408167670.00000037.

Ravenhill, M. (2008b) ‘The Cut’, in Plays 2. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408167670.00000041.

Ravenhill, M. (no date) God is behind some of our greatest art. Available at: https://www.theguardian.com/stage/theatreblog/2008/apr/14/godisbehindsomeofourgrea.

Ravenhill, M. and Ravenhill, M. (2006a) Product. London: Methuen Drama.

Ravenhill, M. and Ravenhill, M. (2006b) The cut. London: Methuen Drama.

Ravenhill, M. and Rebellato, D. (2005a) Shopping and fucking. Student ed. London: Methuen.

Ravenhill, M. and Rebellato, D. (2005b) ‘Shopping and Fucking’, in Shopping and fucking. Student ed. London: Methuen. Available at: https://doi.org/10.5040/9781408168509.00000026.

Rebellato, D. (2003a) ‘“And I Will Reach Out My Hand With A Kind of Infinite Slowness And Say The Perfect Thing”: The Utopian Theatre of Suspect Culture’, Contemporary Theatre Review, 13(1), pp. 61–80. Available at: https://doi.org/10.1080/1048680031000077825.

Rebellato, D. (2003b) ‘“And I Will Reach Out My Hand With A Kind of Infinite Slowness And Say The Perfect Thing”: The Utopian Theatre of Suspect Culture’, Contemporary Theatre Review, 13(1), pp. 61–80. Available at: https://doi.org/10.1080/1048680031000077825.

Rebellato, D. (ed.) (2013) Modern British playwriting: voices, documents, new interpretations, 2000-2009. London: Bloomsbury.

Rebellato, D. and Ravenhill, M. (2009a) Theatre & Globalization. Basingstoke: Palgrave Macmillan.

Rebellato, D. and Ravenhill, M. (2009b) Theatre & Globalization. Basingstoke: Palgrave Macmillan.

Rees, C. (2012a) ‘“Anthony Neilson” IN Modern British playwriting: voices, documents, new interpretations, The 1990s’, in Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama, pp. 137–163.

Rees, C. (2012b) ‘Sarah Kane’, in Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s. London: Methuen Drama, pp. 112–137.

Rees, C. (2012c) ‘“Sarah Kane” IN Modern British playwriting: voices, documents, new interpretations, The 1990s’, in Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama, pp. 112–137. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1748076.

Reid, T. (2011a) ‘“Post-Devolutionary Drama” IN The Edinburgh companion to Scottish drama’, in The Edinburgh companion to Scottish drama. Edinburgh: Edinburgh University Press, pp. 188–199. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670.

Reid, T. (2011b) ‘“Post-Devolutionary Drama” IN The Edinburgh companion to Scottish drama’, in The Edinburgh companion to Scottish drama. Edinburgh: Edinburgh University Press, pp. 188–199. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409327080002671&institutionId=2671&customerId=2670.

Reid, T. (2011c) ‘“Post-Devolutionary Drama” IN The Edinburgh companion to Scottish drama’, in The Edinburgh companion to Scottish drama. Edinburgh: Edinburgh University Press, pp. 188–199. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670.

Reid, T. (2016a) ‘“Sexy Kilts with Attitude Scottish Theatre in the Twenty-First Century” IN Twenty-first century drama: what happens now’, in S. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 191–211. Available at: http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.

Reid, T. (2016b) ‘“Sexy Kilts with Attitude Scottish Theatre in the Twenty-First Century” IN Twenty-first century drama: what happens now’, in S.H. Adiseshiah and L. LePage (eds) Twenty-first century drama: what happens now. London: Palgrave Macmillan, pp. 191–211.

Reinelt, J. (1994a) After Brecht: British epic theater. Ann Arbor: University of Michigan Press.

Reinelt, J. (1994b) After Brecht: British epic theater. Ann Arbor: University of Michigan Press.

Reinelt, J. (2011a) ‘David Greig’, in The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, pp. 203–222. Available at: http://lib.myilibrary.com?id=604121.

Reinelt, J. (2011b) ‘“David Greig” IN The Methuen Drama guide to contemporary British playwrights’, in The Methuen Drama guide to contemporary British playwrights. London: Methuen Drama, pp. 203–222.

Reinelt, J. (2011c) ‘“David Greig” IN The Methuen Drama guide to contemporary British playwrights’, in The Methuen Drama guide to contemporary British playwrights. London: Methuen Drama, pp. 203–222. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9264764140002671&institutionId=2671&customerId=2670.

Reinelt, J. (2011d) ‘“David Greig” IN The Methuen drama guide to contemporary British playwrights’, in The Methuen drama guide to contemporary British playwrights. London: Methuen Drama, pp. 203–222. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409282230002671&institutionId=2671&customerId=2670.

Reinelt, J.G. (2007a) ‘Selective Affinities: British Playwrights at Work’, Modern Drama, 50(3), pp. 305–345. Available at: https://doi.org/10.1353/mdr.2007.0060.

Reinelt, J.G. (2007b) ‘Selective Affinities: British Playwrights at Work’, Modern Drama, 50(3), pp. 305–345. Available at: https://doi.org/10.1353/mdr.2007.0060.

Ridley, P. (2005a) Mercury Fur. London: Methuen Drama.

Ridley, P. (2005b) Mercury Fur. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408182826.00000002.

Roberts, P. (1999) The Royal Court Theatre and the modern stage. Cambridge University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13401176580002671&institutionId=2671&customerId=2670.

Roberts, P. (2008) About Churchill: the playwright and the work. London: Faber and Faber.

Roberts, P. and American Council of Learned Societies (1999) The Royal Court Theatre and the modern stage. Cambridge, UK: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07570.

Roth, M. (2008a) ‘Engaging Cultural Translations: Timberlake Wertenbaker’s History Plays from New Anatomies to After Darwin’, in International Dramaturgy: Translation & Transformations in the Theatre of Timberlake Wertenbaker. Scientific international ed. Bruxelles: P.I.E. Peter Lang, pp. 155–176.

Roth, M. (2008b) ‘“Engaging Cultural Translations: Timberlake Wertenbaker’s History Plays from New Anatomies to After Darwin” IN International dramaturgy: translation & transformations in the theatre of Timberlake Wertenbaker’, in International dramaturgy: translation & transformations in the theatre of Timberlake Wertenbaker. Scientific international ed. Bruxelles: P.I.E. Peter Lang, pp. 155–176.

Roth, M. and Freeman, S. (2008a) International dramaturgy: translation & transformations in the theatre of Timberlake Wertenbaker. Scientific international ed. Bruxelles: P.I.E. Peter Lang.

Roth, M. and Freeman, S. (2008b) International dramaturgy: translation & transformations in the theatre of Timberlake Wertenbaker. Scientific international ed. Bruxelles: P.I.E. Peter Lang.

Sakellaridou, E. (2014) ‘Cruel or Tender? Protocols of Atrocity, New and Old’, Contemporary Theatre Review, 24(3), pp. 363–372. Available at: https://doi.org/10.1080/10486801.2014.921055.

Sara Freeman (2010a) ‘Tragedy After Darwin: Timberlake Wertenbaker Remakes “Modern” Tragedy’, Comparative Drama, 44(2), pp. 201–227. Available at: http://www.jstor.org/stable/23038112.

Sara Freeman (2010b) ‘Tragedy After Darwin: Timberlake Wertenbaker Remakes “Modern” Tragedy’, Comparative Drama, 44(2), pp. 201–227. Available at: http://www.jstor.org/stable/23038112.

Saunders, G. (2002a) ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes. Manchester: Manchester University Press.

Saunders, G. (2002b) ‘Love me or kill me’: Sarah Kane and the theatre of extremes. Manchester: Manchester University Press.

Saunders, G. (2012) ‘“Mark Ravenhill” IN Modern British playwriting: voices, documents, new interpretations, The 1990s’, in Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama, pp. 163–188.

Saunders, G. and Kane, S. (2009a) About Kane: The Playwright and the Work. London: Faber.

Saunders, G. and Kane, S. (2009b) About Kane: the playwright and the work. London: Faber.

Schlote, C. (2014a) ‘“From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 173–189.

Schlote, C. (2014b) ‘“From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 173–189. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.

Shank, T. (1994) Contemporary British theatre. Basingstoke: Macmillan.

Shellard, D. (1999) British theatre since the war. New Haven: Yale University Press.

Shepherd, S. (2009) The Cambridge introduction to modern British theatre. Cambridge, UK: Cambridge University Press.

Shepherd-Barr, K. (2002a) ‘Copenhagen and Beyond: The "Rich and Mentally Nourishing” Interplay of Science and Theatre’, Gramma: Journal of Theory and Criticism, 10, pp. 171–182. Available at: http://www.enl.auth.gr/gramma/gramma02/Barr.pdf.

Shepherd-Barr, K. (2002b) ‘Copenhagen and Beyond: The "Rich and Mentally Nourishing” Interplay of Science and Theatre’, Gramma: Journal of Theory and Criticism, 10, pp. 171–182. Available at: http://www.enl.auth.gr/gramma/gramma02/Barr.pdf.

Shepherd-Barr, K. (2006a) Science on stage: from Doctor Faustus to Copenhagen. Princeton: Princeton University Press.

Shepherd-Barr, K. (2006b) Science on stage: from Doctor Faustus to Copenhagen. Princeton: Princeton University Press.

Shepherd-Barr, K. (2008a) ‘Darwin on Stage: Evolutionary Theory in the Theatre’, Interdisciplinary Science Reviews, 33(2), pp. 107–115. Available at: http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf.

Shepherd-Barr, K. (2008b) ‘Darwin on Stage: Evolutionary Theory in the Theatre’, Interdisciplinary Science Reviews, 33(2), pp. 107–115. Available at: http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf.

Sierz, A. (2001a) In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.

Sierz, A. (2001b) In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.

Sierz, A. (2001c) In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.

Sierz, A. (2001d) In-yer-face theatre: British drama today. London: Faber and Faber.

Sierz, A. (2006) The theatre of Martin Crimp. London: Methuen Drama.

Sierz, A. (2011a) Rewriting the Nation: British Theatre Today. London: Methuen Drama.

Sierz, A. (2011b) Rewriting the Nation: British Theatre Today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011c) Rewriting the Nation: British Theatre Today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011d) Rewriting the Nation: British Theatre Today. London: Methuen Drama.

Sierz, A. (2011e) Rewriting the nation: British theatre today. London: Methuen Drama.

Sierz, A. (2011f) Rewriting the nation: British theatre today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011g) Rewriting the nation: British theatre today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011h) Rewriting the nation: British theatre today. London: Methuen Drama.

Sierz, A. (2011i) Rewriting the nation: British theatre today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011j) Rewriting the nation: British theatre today. London: Methuen Drama.

Sierz, A. (2011k) Rewriting the nation: British theatre today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011l) Rewriting the nation: British theatre today. London: Methuen Drama.

Sierz, A. (2011m) Rewriting the nation: British theatre today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011n) Rewriting the nation: British theatre today. London: Methuen Drama.

Sierz, A. (2011o) Rewriting the nation: British theatre today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011p) Rewriting the nation: British theatre today. London: Methuen Drama.

Sierz, A. (2011q) Rewriting the nation: British theatre today. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.

Sierz, A. (2011r) Rewriting the nation: British theatre today. London: Methuen Drama.

Sierz, A. (2012a) ‘“Anthony Neilson” IN Modern British playwriting: voices, documents, new interpretations, The 1990s’, in Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama.

Sierz, A. (2012b) ‘“Mark Ravenhill” IN Modern British playwriting: voices, documents, new interpretations, The 1990s’, in Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama, pp. 163–188.

Sierz, A. (2012c) Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama.

Sierz, A. (2012d) ‘Philip Ridley’, in Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s. London: Methuen Drama, pp. 112–137.

Sierz, A. (2012e) ‘Philip Ridley’e’, in Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s. London: Methuen Drama, pp. 88–111.

Sierz, A. and Crimp, M. (2006) The Theatre of Martin Crimp. London: Methuen Drama. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781408147290.

Sinfield, A. (1999) Out on stage: lesbian and gay theatre in the twentieth century. New Haven, Conn: Yale University Press.

Soto-Morettini, D. (2005) ‘Trouble in the house: David Hare’s’, Contemporary Theatre Review, 15(3), pp. 309–319. Available at: https://doi.org/10.1080/10267160500217640.

Stenham, P. (2007) ‘That Face’, in That Face. Faber and Faber. Available at: https://doi.org/10.5040/9780571285471.00000005.

Stenham, P. et al. (2008) That face. Rev. ed. London: Faber.

Stephens, S. (2009) Punk Rock. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408167250.00000004.

Stephens, S. (2012a) Three Kingdoms. London: Methuen Drama.

Stephens, S. (2012b) ‘Three Kingdoms’, in Three kingdoms. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408172988.00000005.

Stephenson, H. and Langridge, N. (1997a) Rage and Reason: Women Playwrights on Playwriting. London: Methuen.

Stephenson, H. and Langridge, N. (1997b) Rage and reason: women playwrights on playwriting. London: Methuen.

Stern, T. (2014) Philosophy and theatre: an introduction. London: Routledge.

Svich, C. (2003a) ‘“Commerce and Morality in the Theatre of Mark Ravenhill”’, Contemporary Theatre Review, 13(1), pp. 81–95. Available at: https://doi.org/10.1080/1048680031000077799.

Svich, C. (2003b) ‘“Commerce and Morality in the Theatre of Mark Ravenhill”’, Contemporary Theatre Review, 13(1), pp. 81–95. Available at: https://doi.org/10.1080/1048680031000077799.

Svich, C. (2003c) Trans-global readings: crossing theatrical boundaries. Manchester: Manchester University Press.

Svich, C. (2003d) Trans-global readings: crossing theatrical boundaries. Manchester: Manchester University Press.

Taylor-Batty, M. (2014a) ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990’, in Ethical Speculations in Contemporary British Theatre, pp. 59–75. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137297570.

Taylor-Batty, M. (2014b) ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’, in M. Aragay and E. Monforte (eds) Ethical Speculations in Contemporary British Theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 59–75.

Taylor-Batty, M. (2014c) ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’, in M. Aragay and E. Monforte (eds) Ethical Speculations in Contemporary British Theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 59–75. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.

Taylor-Batty, M. (2014d) ‘“How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 59–75. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9264924710002671&institutionId=2671&customerId=2670.

Taylor-Batty, M. (2014e) The Theatre of Harold Pinter. London: Bloomsbury Publishing.

Taylor-Batty, M. (2014f) The theatre of Harold Pinter. London: Bloomsbury Publishing.

Tempest, K. (2014a) Wasted. London: Bloomsbury Methuen Drama.

Tempest, K. (2014b) Wasted. London: Bloomsbury Methuen Drama.

Theatre Voice (no date). Available at: http://www.theatrevoice.com/.

‘This is all theatre”: Iraq Centrestage’ (2005) Contemporary Theatre Review, 15(3), pp. 369–386. Available at: https://doi.org/10.1080/10486800500254573.

‘“Thisworldly wonderment: Contemporary British Theatre and Postsecularism” IN Performing the secular: Representation, religion and the public sphere’ (2017a) in Performing the secular: religion, representation, and politics. Basingstoke: Palgrave Macmillan.

‘“Thisworldly wonderment: Contemporary British Theatre and Postsecularism” IN Performing the secular: Representation, religion and the public sphere’ (2017b) in Performing the secular: religion, representation, and politics. Basingstoke: Palgrave Macmillan.

Timberlake WertenbakerTimberlake Wertenbaker (no date) ‘After Darwin’. Available at: https://doi.org/10.5040/9780571293223.99000005.

Trish  Reid (no date a) ‘“Deformities of the Frame”: 1  The Theatre of Anthony Neilson’, Contemporary Theatre Review, 17(4), pp. 487–498. Available at: http://www.tandfonline.com/doi/abs/10.1080/10486800701605110.

Trish  Reid (no date b) ‘“Deformities of the Frame”: 1  The Theatre of Anthony Neilson’, Contemporary Theatre Review, 17(4), pp. 487–498. Available at: http://www.tandfonline.com/doi/abs/10.1080/10486800701605110.

Urban, K. (2001a) ‘An Ethics of Catastrophe: The Theatre of Sarah Kane’, PAJ: A Journal of Performance and Art, 23(3). Available at: https://doi.org/10.2307/3246332.

Urban, K. (2001b) ‘An Ethics of Catastrophe: The Theatre of Sarah Kane’, PAJ: A Journal of Performance and Art, 23(3). Available at: https://doi.org/10.2307/3246332.

de Vos, L. and Saunders, G. (2011) Sarah Kane in Context. Manchester: Manchester University Press.

Vos, L. de and Saunders, G. (2011) Sarah Kane in context. Manchester: Manchester University Press.

Waers, S. (2010) ‘Sarah Kane: From Terror to Trauma’, in A Companion to Modern British and Irish Drama, 1880-2005. Pbk. ed. Chichester: Wiley-Blackwell, pp. 371–382.

Wallace, C. (2006a) Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Prague: Litteraria Pragensia.

Wallace, C. (2006b) Suspect cultures: narrative, identity & citation in 1990s new drama. Prague: Litteraria Pragensia.

Wallace, C. (2006c) Suspect cultures: narrative, identity & citation in 1990s new drama. Prague: Litteraria Pragensia.

Wallace, C. (2006d) Suspect cultures: narrative, identity & citation in 1990s new drama. Prague: Litteraria Pragensia.

Wallace, C. (2013a) The theatre of David Greig. London: Bloomsbury.

Wallace, C. (2013b) The theatre of David Greig. London: Bloomsbury.

Wallace, C. (2014) ‘Playing with Proximity: Precarious Ethics on Stage in the New Millennium’, in M. Aragay and E. Monforte (eds) Ethical Speculations in Contemporary British Theatre. Basingstoke, Hampshire: Palgrave Macmillan, pp. 117–134.

Wallace, C. (no date) ‘“Playing with Proximity: Precarious Ethics on Stage in the New Millennium” IN Ethical speculations in contemporary British theatre’, in M. Aragay and E. Monforte (eds) Ethical speculations in contemporary British theatre, pp. 117–134. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409381910002671&institutionId=2671&customerId=2670.

Wallace, C. and Muller, A. (2011a) Cosmotopia: transnational identities in David Greig’s theatre. Prague: Litteraria.

Wallace, C. and Muller, A. (2011b) Cosmotopia: transnational identities in David Greig’s theatre. Prague: Litteraria.

Wandor, M. (2001) Post-war British drama: looking back in gender. London: Routledge.

Waters, S. (2006a) ‘“Sarah Kane: From Terror to Trauma” IN A companion to modern British and Irish drama 1880-2005’, in A companion to modern British and Irish drama 1880-2005. Malden, MA: Blackwell, pp. 371–382. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9252323500002671&institutionId=2671&customerId=2670.

Waters, S. (2006b) ‘“Sarah Kane: From Terror to Trauma” IN A companion to modern British and Irish drama, 1880-2005’, in A companion to modern British and Irish drama, 1880-2005. Malden, Mass: Blackwell, pp. 371–382. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780470751473.

Waters, S. (2015a) ‘Temple’, in Temple. London: Nick Hearn Books. Available at: https://doi.org/10.5040/9781784603151.00000002.

Waters, S. (2015b) Temple. London: Nick Hearn Books.

Waters, S. (2015c) Temple. London: Nick Hearn Books.

Wertenbaker, T. (2002) ‘After Darwin’, in Plays two. London: Faber.

Wiles, D. (2014a) Theatre & time. Basingstoke: Palgrave Macmillan.

Wiles, D. (2014b) Theatre & time. Basingstoke: Palgrave Macmillan.

Williams, R. (2003) Fallout. London: Methuen.

Williams, R. (2006a) ‘Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?’, New Theatre Quarterly, 22(02). Available at: https://doi.org/10.1017/S0266464X06000352.

Williams, R. (2006b) ‘Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?’, New Theatre Quarterly, 22(02). Available at: https://doi.org/10.1017/S0266464X06000352.

Williams, R. (2008) ‘Fallout’, in Plays 3. London: Methuen Drama. Available at: https://doi.org/10.5040/9781408167724.00000004.

Wright, I. (2003) ‘“Working in Partnership: David Greig in Conversation with Isabel Wrigh” IN Trans-global readings: crossing theatrical boundaries’, in Trans-global readings: crossing theatrical boundaries. Manchester: Manchester University Press, pp. 157–167.

Wyllie, A. (2009) Sex on stage: gender and sexuality in post-war British theatre. Bristol: Intellect.

Young, H. (2013a) Theatre & race. Basingstoke, Hampshire: Palgrave Macmillan.

Young, H. (2013b) Theatre & race. Basingstoke, Hampshire: Palgrave Macmillan.