Bibliography for DT3314: Contemporary British Theatre: Politics & Philosophy

1.
Kane S, Urban K. Blasted. Vol Methuen drama student editions. Methuen Drama; 2011.

2.
Aston E. Reviewing the Fabric of Blasted. In: Sarah Kane in Context. Manchester University Press; 2011:13-27.

3.
Pinter H. The New World Order. In: Harold Pinter: Plays 4. Faber and Faber; 2012. doi:10.5040/9780571291793.00000064

4.
Pinter H. The New World Order. In: Party Time ; And, the New World Order: Two Plays. Grove Press; 1993.

5.
Neilson A. Penetrator. In: Plays 1. Vol Methuen contemporary dramatists. Methuen; 1998.

6.
Neilson A. Penetrator. In: Plays 1. Vol Methuen contemporary dramatists. Methuen; 1998. doi:10.5040/9781408175088.00000041

7.
Ridley P. Mercury Fur. Methuen Drama; 2005.

8.
Ridley P. Mercury Fur. Methuen Drama; 2005. doi:10.5040/9781408182826.00000002

9.
Stephens S. Punk Rock. Methuen Drama; 2009. doi:10.5040/9781408167250.00000004

10.
Angelaki V. Politics for the Middle Classes: Contemporary Audiences and the Violence of Now. In: Angelaki V, ed. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan; 2013:57-78.

11.
Angelaki V. Politics for the Middle Classes: Contemporary Audiences and the Violence of Now. In: Angelaki V, ed. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan; 2013:57-78. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137010131

12.
Aston E. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Vol Cambridge studies in modern theatre. Cambridge University Press; 2003.

13.
Aston E. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge University Press; 2003. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=16040

14.
D’Monté R, Saunders G. Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan; 2007.

15.
Duggan P. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester University Press; 2012.

16.
Iball H. Sarah Kane’s Blasted. Vol Continuum modern theatre guides. Continuum; 2008.

17.
Iball H. Sarah Kane’s Blasted. Vol Continuum modern theatre guides. Continuum; 2008. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787

18.
Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol Performance interventions. Palgrave Macmillan; 2008.

19.
Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol Performance interventions. Palgrave Macmillan; 2008. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

20.
Lehmann HT. Postdramatic Theatre. Routledge; 2006.

21.
Lehmann HT. Postdramatic Theatre. Routledge; 2006. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406

22.
Luckhurst M. Infamy and Dying Young: Sarah Kane, 1971-1999. In: Theatre and Celebrity in Britain, 1660-2000. Palgrave Macmillan; 2005:107-126.

23.
Luckhurst M. Infamy and Dying Young: Sarah Kane, 1971-1999. In: Theatre and Celebrity in Britain, 1660-2000. Palgrave Macmillan; 2005:107-126. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780230523845

24.
Middeke M, Schnierer PP, Sierz A. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011.

25.
Middeke M, Schnierer PP, Sierz A. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011. http://lib.myilibrary.com?id=604121

26.
Nevitt L. Theatre & Violence. Vol Theatre&. Palgrave Macmillan; 2013.

27.
Raby P. The Cambridge Companion to Harold Pinter. Vol Cambridge companions to literature. 2nd ed. Cambridge University Press; 2009.

28.
Cambridge Companions Complete Collection. The Cambridge Companion to Harold Pinter. Vol Cambridge Companions to Literature. (Raby P, ed.). Cambridge University Press; 2009. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093

29.
Rees C. Sarah Kane. In: Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s. Vol Decades. Methuen Drama; 2012:112-137.

30.
Saunders G, Kane S. About Kane: The Playwright and the Work. Faber; 2009.

31.
Saunders G. ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes. Manchester University Press; 2002.

32.
Sierz A. In-Yer-Face Theatre: British Drama Today. Faber and Faber; 2001.

33.
Sierz A. Philip Ridley. In: Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s. Vol Decades. Methuen Drama; 2012:112-137.

34.
Sierz A. Rewriting the Nation: British Theatre Today. Methuen Drama; 2011.

35.
Sierz A. Rewriting the Nation: British Theatre Today. Methuen Drama; 2011. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867

36.
Annabelle Singer. Don’t Want to Be This: The Elusive Sarah Kane. TDR (1988-). 2004;48(2):139-171. http://www.jstor.org/stable/4488558

37.
Stephenson H, Langridge N. Rage and Reason: Women Playwrights on Playwriting. Methuen; 1997.

38.
Taylor-Batty M. How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s. In: Aragay M, Monforte E, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan; 2014:59-75.

39.
Taylor-Batty M. How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s. In: Aragay M, Monforte E, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan; 2014:59-75. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

40.
Taylor-Batty M. The Theatre of Harold Pinter. Vol Critical companions. Bloomsbury Publishing; 2014.

41.
Urban K. An Ethics of Catastrophe: The Theatre of Sarah Kane. PAJ: A Journal of Performance and Art. 2001;23(3). doi:10.2307/3246332

42.
de Vos L, Saunders G. Sarah Kane in Context. Manchester University Press; 2011.

43.
Wallace C. Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Litteraria Pragensia; 2006.

44.
Waers S. Sarah Kane: From Terror to Trauma. In: A Companion to Modern British and Irish Drama, 1880-2005. Vol Blackwell companions to literature and culture. Pbk. ed. Wiley-Blackwell; 2010:371-382.

45.
Luckhurst M. Sarah Kane: From Terror to Trauma. In: A Companion to Modern British and Irish Drama, 1880-2005. Vol Blackwell companions to literature and culture. Pbk. ed. Wiley-Blackwell; 2010:371-382. http://ezproxy01.rhul.ac.uk/login?url=https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780470751473

46.
Christopher Wixson. ‘In Better Places’: Space, Identity, and Alienation in Sarah Kane’s ‘Blasted’. Comparative Drama. 2005;39(1):75-91. http://www.jstor.org/stable/41154260

47.
Prebble L. Enron. Methuen Drama; 2009.

48.
Prebble L. Enron. Methuen Drama; 2009. http://www.dramaonlinelibrary.com/plays/enron-iid-128921

49.
O’Thomas M. Translating Austerity: Theatrical Responses to the Financial Crisis. In: Adiseshiah SH, LePage L, eds. Twenty-First Century Drama: What Happens Now. Palgrave Macmillan; 2016:129-148.

50.
O’Thomas M. Translating Austerity: Theatrical Responses to the Financial Crisis. In: Adiseshiah SH, LePage L, eds. Twenty-First Century Drama: What Happens Now. Palgrave Macmillan; 2016:129-148. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137484031

51.
Churchill C. Serious Money. Vol Methuen student edition. Methuen; 2002.

52.
Churchill C. Serious Money. Vol Methuen student edition. Methuen; 2002. doi:10.5040/9781408169520.00000121

53.
Hare D. The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. Vol FF plays. Faber and Faber; 2009.

54.
Hare D. The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. Vol FF plays. Faber and Faber; 2009. doi:10.5040/9780571286461.10000005

55.
Abrams J. State of the Nation: New British Theatre. PAJ: A Journal of Performance and Art. 2010;32(2):8-16. doi:10.1162/pajj.2010.32.2.8

56.
Boon R. About Hare: The Playwright and the Work. Faber; 2006.

57.
Boon R. The Cambridge Companion to David Hare. Cambridge University Press; 2007.

58.
Boon R, ed. The Cambridge Companion to David Hare. Vol Cambridge Companions to Literature. Cambridge University Press; 2007. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544

59.
Devine H. Looking Back: Playwrights at the Royal Court, 1956-2006. Faber and Faber; 2006.

60.
Dorney K. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan; 2009.

61.
Dorney K. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan; 2009. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475

62.
Fisher J. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co; 2011.

63.
Fisher J. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co; 2011. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726

64.
Forsyth A, Megson C. Get Real: Documentary Theatre Past and Present. Vol Performance interventions. [New ed.]. Palgrave Macmillan; 2011.

65.
Forsyth A, Megson C. Get Real: Documentary Theatre Past and Present. Palgrave Macmillan; 2009. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309

66.
Hare D. Obedience, Struggle & Revolt: Lectures on Theatre. Faber; 2007.

67.
Obedience, Struggle and Revolt. Faber and Faber doi:10.5040/9780571284870

68.
Hare D. Writing Left-Handed. Faber and Faber; 1991.

69.
Homden C. The Plays of David Hare. Cambridge University Press; 1995.

70.
Homden C. The Plays of David Hare. Cambridge University Press; 1995. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CBO9780511627668

71.
Lane D. Contemporary British Drama. Vol Edinburgh critical guides to literature. Edinburgh University Press; 2010.

72.
Lane D. Contemporary British Drama. Vol Edinburgh critical guides to literature. Edinburgh University Press; 2010. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981

73.
McDowell L. Making a Drama Out of a Crisis: Representing Financial Failure, or a Tragedy in Five Acts. Transactions of the Institute of British Geographers. 2011;36(2):193-205. http://www.jstor.org/stable/23020812

74.
Marsh N. Desire and Disease in the Speculative Economy: a critique of the language of crisis. Journal of Cultural Economy. 2011;4(3):301-314. doi:10.1080/17530350.2011.586851

75.
Owen L. ‘Gendering the Economy in Twenty-First Century Drama’ IN Twenty-first century drama: what happens now. In: Adiseshiah SH, LePage L, eds. Twenty-First Century Drama: What Happens Now. Palgrave Macmillan; 2016:107-127.

76.
Owen L. ‘Gendering the Economy in Twenty-First Century Drama’ IN Twenty-first century drama: what happens now. In: Adiseshiah S, LePage L, eds. Twenty-First Century Drama: What Happens Now. Palgrave Macmillan; 2016:107-127. http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031

77.
Reinelt J. After Brecht: British Epic Theater. Vol Theater : theory/text/performance. University of Michigan Press; 1994.

78.
Ravenhill M, Rebellato D. Shopping and Fucking. Student ed. Methuen; 2005.

79.
Ravenhill M, Rebellato D. Shopping and Fucking. In: Shopping and Fucking. Student ed. Methuen; 2005. doi:10.5040/9781408168509.00000026

80.
Svich C. ‘Commerce and Morality in the Theatre of Mark Ravenhill’. Contemporary Theatre Review. 2003;13(1):81-95. doi:10.1080/1048680031000077799

81.
Ravenhill M, Ravenhill M. Product. Methuen Drama; 2006.

82.
Ravenhill M. Product. In: Plays 2. Methuen Drama; 2008. doi:10.5040/9781408167670.00000037

83.
Ravenhill M, Ravenhill M. The Cut. Methuen Drama; 2006.

84.
Ravenhill M. The Cut. In: Plays 2. Methuen Drama; 2008. doi:10.5040/9781408167670.00000041

85.
Aragay M. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics, and Academics. Palgrave Macmillan; 2007.

86.
Aragay M. British Theatre of the 1990s: Interviews With Directors, Playwrights, Critics and Academics. Palgrave Macmillan; 2007. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=339164

87.
Billingham P. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. Methuen Drama; 2007.

88.
D’Monté R, Saunders G. Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan; 2007.

89.
Dorney K. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan; 2009. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475

90.
Dorney K. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan; 2009.

91.
Fisher J. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co; 2011. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726

92.
Fisher J. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co; 2011.

93.
Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol Performance interventions. Palgrave Macmillan; 2008. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

94.
Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol Performance interventions. Palgrave Macmillan; 2008.

95.
Middeke M, Schnierer PP, Sierz A. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011. http://lib.myilibrary.com?id=604121

96.
Middeke M, Schnierer PP, Sierz A. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011.

97.
Andrea Peghinelli. Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals. Status Quaestionis. 2012;1(2). http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956

98.
Sierz A. In-Yer-Face Theatre: British Drama Today. Faber and Faber; 2001.

99.
Sierz A. Rewriting the Nation: British Theatre Today. Methuen Drama; 2011. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867

100.
Sierz A. Rewriting the Nation: British Theatre Today. Methuen Drama; 2011.

101.
Sierz A. ‘Mark Ravenhill’ IN Modern British playwriting: voices, documents, new interpretations, The 1990s. In: Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s. Vol Decades. Methuen Drama; 2012:163-188.

102.
Wallace C. Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Litteraria Pragensia; 2006.

103.
Stephens S. Three Kingdoms. Methuen Drama; 2012.

104.
Stephens S. Three Kingdoms. In: Three Kingdoms. Methuen Drama; 2012. doi:10.5040/9781408172988.00000005

105.
Rebellato D, Ravenhill M. Theatre & Globalization. Vol Theatre&. Palgrave Macmillan; 2009.

106.
Buffini M. Welcome to Thebes. Faber and Faber; 2010.

107.
Buffini M. Welcome to Thebes. In: Welcome to Thebes. Faber and Faber; 2010. doi:10.5040/9780571289974.00000006

108.
Churchill C. Far Away. Nick Hern; 2000.

109.
Churchill C. Far Away. In: Far Away. Nick Hern; 2000. doi:10.5040/9781784602420.00000003

110.
Greig D. San Diego. Vol StageScripts. Faber and Faber; 2003.

111.
Greig D. San Diego. In: Selected Plays 1999-2009. Faber and Faber; 2010. doi:10.5040/9780571286447.00000007

112.
Angelaki V. ‘Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens’ IN Ethical speculations in contemporary British theatre. In: Aragay M, Monforte E, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan; 2014:135-151.

113.
Angelaki V. ‘Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens’ IN Ethical speculations in contemporary British theatre. In: Aragay M, Monforte E, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan; 2014:135-151. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

114.
Billingham P. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. Methuen Drama; 2007.

115.
Bolton J. ‘Simon Stephens’ IN Modern British playwriting: voices, documents, new interpretations, The 1990s. In: Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s. Vol Decades. Methuen Drama; 2012:101-124.

116.
Devine H. Looking Back: Playwrights at the Royal Court, 1956-2006. Faber and Faber; 2006.

117.
Eatough G, Rebellato D. The Suspect Culture Book. Oberon Books; 2013.

118.
Edgar D. Playwrights on Playwriting. Vol State of play. Faber; 1999.

119.
Doing a Geographical. Contemporary Theatre Review. 2006;16(1):144-164. doi:10.1080/10486800600671502

120.
Greig D. "Rough Theatre’" IN Cool Britannia?: British political drama in the 1990s. In: Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan; 2007:208-221.

121.
Holdsworth N. ‘David Greig’ IN Modern British playwriting: voices, documents, new interpretations, 2000-2009. In: Rebellato D, ed. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009. Vol Decades. Bloomsbury; 2013:169-189.

122.
Holdsworth N. The Landscape of Contemporary Scottish Identity: Place, Politics and Identity. In: A Concise Companion to Contemporary British and Irish Drama. Vol Blackwell concise companions to literature and culture. Blackwell; 2008:125-145.

123.
Holdsworth N. ‘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. Vol Blackwell concise companions to literature and culture. Blackwell; 2008:125-145. http://lib.myilibrary.com/Open.aspx?id=106920

124.
Holdsworth N. Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre. Contemporary Theatre Review. 2003;13(2):25-39. doi:10.1080/920087167

125.
Innes C. ‘Simon Stephens’ IN The Methuen drama guide to contemporary British playwrights. In: The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011:445-465. http://lib.myilibrary.com?id=604121

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Innes C. Simon Stephens. In: The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011:445-465.

127.
Lane D. Contemporary British Drama. Vol Edinburgh critical guides to literature. Edinburgh University Press; 2010.

128.
Lane D. Contemporary British Drama. Vol Edinburgh critical guides to literature. Edinburgh University Press; 2010. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981

129.
Middeke M, Schnierer PP, Sierz A. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011. http://lib.myilibrary.com?id=604121

130.
Middeke M, Schnierer PP, Sierz A. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011.

131.
Wallace C, Muller A. Cosmotopia: Transnational Identities in David Greig’s Theatre. Litteraria; 2011.

132.
Nielsen LD, Ybarra PA. Neoliberalism and Global Theatres: Performance Permutations. Vol Studies in international performance. Palgrave Macmillan; 2012.

133.
Nielsen LD, Ybarra PA. Neoliberalism and Global Theatres: Performance Permutations. Vol Studies in international performance. Palgrave Macmillan; 2012. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590

134.
Rebellato D. ‘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. 2003;13(1):61-80. doi:10.1080/1048680031000077825

135.
Greig D, Holdsworth N, Rebellato D, Ridout N, Svich C. New Theatre Writing: Simon Stephens’. Contemporary Theatre Review. 2005;15(1):156-187. doi:10.1080/1048680052000342557

136.
Reid T. ‘Post-Devolutionary Drama’ IN The Edinburgh companion to Scottish drama. In: The Edinburgh Companion to Scottish Drama. Vol Edinburgh companions to Scottish literature. Edinburgh University Press; 2011:188-199. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670

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Reid T. ‘Post-Devolutionary Drama’ IN The Edinburgh companion to Scottish drama. In: The Edinburgh Companion to Scottish Drama. Vol Edinburgh companions to Scottish literature. Edinburgh University Press; 2011:188-199. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409327080002671&institutionId=2671&customerId=2670

138.
Reinelt J. David Greig. In: The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011:203-222. http://lib.myilibrary.com?id=604121

139.
Reinelt J. ‘David Greig’ IN The Methuen Drama guide to contemporary British playwrights. In: The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama; 2011:203-222.

140.
Wallace C. Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Litteraria Pragensia; 2006.

141.
Wallace C. The Theatre of David Greig. Vol Critical companions. Bloomsbury; 2013.

142.
Wright I. ‘Working in Partnership: David Greig in Conversation with Isabel Wrigh’ IN Trans-global readings: crossing theatrical boundaries. In: Trans-Global Readings: Crossing Theatrical Boundaries. Vol Theatre: theory-practice-performance. Manchester University Press; 2003:157-167.

143.
Lustgarten A. If You Don’t Let Us Dream, We Won’t Let You Sleep. Bloomsbury Methuen Drama; 2013.

144.
Lustgarten A. 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. Bloomsbury Methuen Drama; 2013. doi:10.5040/9781472506733.00000006

145.
Nield S. Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order. In: Rai S, Reinelt JG, eds. The Grammar of Politics and Performance. Routledge; 2016:121-133.

146.
Nield S. Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order. In: The Grammar of Politics and Performance. Vol Interventions. Routledge; 2015:121-133. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871

147.
Kirkwood L. Chimerica. Revised edition. Nick Hern Books; 2013.

148.
Kirkwood L. Chimerica. In: Chimerica. Revised edition. Nick Hern Books; 2013. doi:10.5040/9781784600266.00090006

149.
Price T. The Radicalisation of Bradley Manning. In: The Radicalisation of Bradley Manning. Bloomsbury Publishing; 2012. doi:10.5040/9781408172902.00000002

150.
Waters S. Temple. In: Temple. Vol NHB modern plays. Nick Hearn Books; 2015. doi:10.5040/9781784603151.00000002

151.
Adiseshiah SH, LePage L, eds. Twenty-First Century Drama: What Happens Now. Palgrave Macmillan; 2016.

152.
Angelaki V, ed. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan; 2013.

153.
Angelaki V. Contemporary British Theatre: Breaking New Ground. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430

154.
Boll J. The New War Plays: From Kane to Harris. Palgrave Macmillan; 2013.

155.
Brady S. Performance, Politics, and the War on Terror: ‘Whatever It Takes’. Vol Performance interventions. Palgrave Macmillan; 2012.

156.
Forsyth A, Megson C. Get Real: Documentary Theatre Past and Present. Palgrave Macmillan; 2009. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309

157.
Forsyth A, Megson C. Get Real: Documentary Theatre Past and Present. Vol Performance interventions. [New ed.]. Palgrave Macmillan; 2011.

158.
Schlote C. ‘From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre’ IN Ethical speculations in contemporary British theatre. In: Aragay M, Monforte E, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan; 2014:173-189.

159.
Schlote C. ‘From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre’ IN Ethical speculations in contemporary British theatre. In: Aragay M, Monforte E, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan; 2014:173-189. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

160.
Sierz A. Rewriting the Nation: British Theatre Today. Methuen Drama; 2011.

161.
Sierz A. Rewriting the Nation: British Theatre Today. Methuen Drama; 2011. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867

162.
Stenham P, Mothers and daughters, Mothers and sons, Royal Court Theatre. That Face. Rev. ed. Faber; 2008.

163.
Stenham P. That Face. In: That Face. Faber and Faber; 2007. doi:10.5040/9780571285471.00000005

164.
Andrea Peghinelli. Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals [open access]. Status Quaestionis. 2012;1(2). http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956

165.
Eldridge D. Market Boy. Methuen Drama; 2006.

166.
Eldridge D. Market Boy. In: Plays 2. Vol Methuen Drama contemporary dramatists. Methuen Drama; 2012. doi:10.5040/9781408174982.00000005

167.
Jones C. Humble Boy. Vol FF plays. Faber and Faber; 2001.

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Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol Performance interventions. Palgrave Macmillan; 2008.

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Aragay M, Monforte E. Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and random. In: Angelaki V, ed. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan; 2013:297-313.

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Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol Performance interventions. Palgrave Macmillan; 2008. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

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Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol Performance interventions. Palgrave Macmillan; 2008.

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Nicholas Ruddick. 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):119-137. http://www.jstor.org/stable/41274077?seq=1#page_scan_tab_contents

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Nicholson S. Modern British Playwriting: Voices, Documents, New Interpretations, the 1960s. Vol Decades. Methuen Drama; 2012.

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Megson C. Modern British Playwriting: Voices, Documents, New Interpretations, The 1970s. Vol Decades. Methuen Drama; 2012.

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Sierz A. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s. Vol Decades. Methuen Drama; 2012.

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Angelaki V, ed. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan; 2013.

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Angelaki V. The Plays of Martin Crimp: Making Theatre Strange. Palgrave Macmillan; 2012.

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Angelaki V. ‘Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens’ IN Ethical speculations in contemporary British theatre. In: Aragay M, Monforte E, eds. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan; 2014:135-151.

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Aragay M, Monforte E. "Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and random’" IN Contemporary British theatre: breaking new ground. In: Angelaki V, ed. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan; 2013:96-120. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670

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Aragay M. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics, and Academics. Palgrave Macmillan; 2007.

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Aston E, British Council. Caryl Churchill. Vol Writers and their work. 2nd ed. Northcote House in association with the British Council; 2001.

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Aston E. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Vol Cambridge studies in modern theatre. Cambridge University Press; 2003. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13400858210002671&institutionId=2671&customerId=2670

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

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Aston E. ‘Reviewing the fabric of Blasted’ IN Sarah Kane in context. In: Sarah Kane in Context. Manchester University Press; 2011:13-27.

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Aston E, Reinelt J. The Cambridge Companion to Modern British Women Playwrights. Vol Cambridge companions to literature. Cambridge University Press; 2000.

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Barker H. Arguments for a Theatre. 2nd ed. Manchester University Press; 1993.

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