Abrams, Joshua. 2010a. ‘State of the Nation: New British Theatre’. PAJ: A Journal of Performance and Art 32 (2): 8–16. https://doi.org/10.1162/pajj.2010.32.2.8.
———. 2010b. ‘State of the Nation: New British Theatre’. PAJ: A Journal of Performance and Art 32 (2): 8–16. https://doi.org/10.1162/pajj.2010.32.2.8.
‘Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts’. 2002a. Modern Drama 45 (4). https://doi.org/10.1353/mdr.2002.0042.
‘———’. 2002b. Modern Drama 45 (4). https://doi.org/10.1353/mdr.2002.0042.
Adiseshiah, Sian. 2016. Twenty-First Century Drama: What Happens Now. Edited by Louise LePage. London: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4719834.
Adiseshiah, Sian Helen, and Louise LePage, eds. 2016a. Twenty-First Century Drama: What Happens Now. London: Palgrave Macmillan.
———, eds. 2016b. Twenty-First Century Drama: What Happens Now. London: Palgrave Macmillan.
Adiseshiah, Sin Helen. 2009. Churchill’s Socialism: Political Resistance in the Plays of Caryl Churchill. Newcastle: Cambridge Scholars.
Agbaje, Bola. 2009. ‘Detaining Justice’. In Not Black and White. London: Methuen Drama. https://doi.org/10.5040/9781408167175.00000050.
Andrea Peghinelli. 2012a. ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals’. Status Quaestionis 1 (2). http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956.
———. 2012b. ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals’. Status Quaestionis 1 (2). http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9955.
———. 2012c. ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals [Open Access]’. Status Quaestionis 1 (2). http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956.
Angelaki, Vicky. 2012. The Plays of Martin Crimp: Making Theatre Strange. Basingstoke: Palgrave Macmillan.
———, ed. 2013a. Contemporary British Theatre: Breaking New Ground. Basingstoke: Palgrave Macmillan.
———, ed. 2013b. Contemporary British Theatre: Breaking New Ground. Basingstoke: Palgrave Macmillan.
———. 2013c. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 57–78. Basingstoke: Palgrave Macmillan.
———. 2013d. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 57–78. Basingstoke: Palgrave Macmillan. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137010131.
———. 2013e. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 57–78. Basingstoke: Palgrave Macmillan.
———. 2013f. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 57–78. Basingstoke: Palgrave Macmillan.
———. 2014a. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 135–51. Basingstoke, Hampshire: Palgrave Macmillan.
———. 2014b. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 135–51. Basingstoke, Hampshire: Palgrave Macmillan. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
———. 2014c. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 135–51. Basingstoke, Hampshire: Palgrave Macmillan. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
———. 2014d. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 135–51. Basingstoke, Hampshire: Palgrave Macmillan.
———. 2014e. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 135–51. Basingstoke, Hampshire: Palgrave Macmillan.
———. 2017. Social and Political Theatre in 21st-Century Britain: Staging Crisis. Vol. Methuen drama engage. London: Bloomsbury Academic. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781474213196.
———. n.d. Contemporary British Theatre: Breaking New Ground. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430.
———. n.d. Contemporary British Theatre: Breaking New Ground. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430.
———. n.d. ‘“Politics for the Middle Classes: Contemporary Audiences and the Violence of Now” IN Contemporary British Theatre: Breaking New Ground’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 57–78. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.
Angel-Perez, Elisabeth. 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 Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 79–95. Basingstoke: Palgrave Macmillan. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670.
———. n.d. ‘“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 Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 79–95. 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): 139–71. http://www.jstor.org/stable/4488558.
———. 2004b. ‘Don’t Want to Be This: The Elusive Sarah Kane’. TDR (1988-) 48 (2): 139–71. https://www.jstor.org/stable/4488558?seq=1#page_scan_tab_contents.
Aragay, Mireia. 2007a. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics, and Academics. Basingstoke: Palgrave Macmillan.
———. 2007b. British Theatre of the 1990s: Interviews With Directors, Playwrights, Critics and Academics. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=339164.
———. 2007c. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics, and Academics. Basingstoke: Palgrave Macmillan.
———. 2007d. British Theatre of the 1990s: Interviews With Directors, Playwrights, Critics and Academics. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=339164.
Aragay, Mireia, and Enric Monforte. 2013a. ‘Racial Violence, Witnessing and Emancipated Spectatorship in the Colour of Justice, Fallout and Random’. In Contemporary British Theatre: Breaking New Ground, 297–313. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.
———. 2013b. ‘Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and Random’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 297–313. Basingstoke: Palgrave Macmillan.
———. 2013c. ‘Racial Violence, Witnessing and Emancipated Spectatorship in the Colour of Justice, Fallout and Random’. In Contemporary British Theatre: Breaking New Ground, 96–120. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.
———. 2013d. ‘"Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and Random’" IN Contemporary British Theatre: Breaking New Ground’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 96–120. Basingstoke: Palgrave Macmillan. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670.
———, eds. 2014. Ethical Speculations in Contemporary British Theatre. Basingstoke, Hampshire: Palgrave Macmillan. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13401091540002671&institutionId=2671&customerId=2670.
Aston, Elaine. 2003a. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Vol. Cambridge studies in modern theatre. Cambridge: Cambridge University Press.
———. 2003b. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge, England: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=16040.
———. 2003c. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Vol. Cambridge studies in modern theatre. Cambridge: Cambridge University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13400858210002671&institutionId=2671&customerId=2670.
———. 2003d. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge, England: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=16040.
———. 2010. Caryl Churchill. Vol. Writers and their work. Tavistock: Northcote. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780746312513.
———. 2011a. ‘Reviewing the Fabric of Blasted’. In Sarah Kane in Context, 13–27. Manchester: Manchester University Press.
———. 2011b. ‘“Reviewing the Fabric of Blasted” IN Sarah Kane in Context’. In Sarah Kane in Context, 13–27. Manchester: Manchester University Press.
Aston, Elaine and British Council. 2001. Caryl Churchill. 2nd ed. Vol. Writers and their work. Plymouth: Northcote House in association with the British Council.
Aston, Elaine, and Elin Diamond. 2009. The Cambridge Companion to Caryl Churchill. Vol. Cambridge companions to authors The Cambridge companion to Caryl Churchill. Cambridge: Cambridge University Press.
Aston, Elaine, and Janelle Reinelt. 2000. The Cambridge Companion to Modern British Women Playwrights. Vol. Cambridge companions to literature. Cambridge: Cambridge University Press.
Barker, Howard. 1993. Arguments for a Theatre. 2nd ed. Manchester: Manchester University Press.
Barnett, David. 2008. ‘When Is a Play Not a Drama? Two Examples of Postdramatic Theatre Texts’. New Theatre Quarterly 24 (01). https://doi.org/10.1017/S0266464X0800002X.
Barry, Elizabeth, and Williams Boles. 2006a. ‘Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams’. In Alternatives Within the Mainstream: British Black and Asian Theatres, 297–313. Buckinghamshire: Cambridge Scholars Press.
———. 2006b. ‘Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams’. In Alternatives Within the Mainstream: British Black and Asian Theatres, 297–313. Buckinghamshire: Cambridge Scholars Press.
———. 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, 297–313. Buckinghamshire: Cambridge Scholars Press. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781443802864.
Bartlett, Mike. 2011a. 13. London: Methuen Drama.
———. 2011b. ‘13’. In 13. London: Methuen Drama. https://doi.org/10.5040/9781408175187.00000003.
Berninger, Mark. 2002a. ‘A Crucible of Two Cultures: Timberlake Wertenbaker’s After Darwin and Science in Recent British Theatre’. Gramma: Journal of Theory and Criticism. http://www.enl.auth.gr/gramma/gramma02/Berninger.pdf.
———. 2002b. ‘A Crucible of Two Cultures: Timberlake Wertenbaker’s After Darwin and Science in Recent British Theatre’. Gramma: Journal of Theory and Criticism. http://www.enl.auth.gr/gramma/gramma02/Berninger.pdf.
Billingham, Peter. 2007a. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. London: Methuen Drama.
———. 2007b. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. London: Methuen Drama.
———. 2007c. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. London: Methuen Drama.
———. 2007d. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. London: Methuen Drama.
Billington, Michael. 2007. State of the Nation: British Theatre since 1945. London: Faber and Faber.
Birringer, Johannes. 1991. Theatre, Theory, Postmodernism. Vol. Drama and performance studies. Bloomington: Indiana University Press.
Boireau, Nicole. 1997. Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage. Basingstoke: Macmillan.
Boll, Julia. 2013a. The New War Plays: From Kane to Harris. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
———. 2013b. The New War Plays: From Kane to Harris. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Bolton, Jacqueline. 2010. ‘Simon Stephens’. In Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, Decades:101–24. London: Bloomsbury.
———. 2012. ‘“Simon Stephens” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. In Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades:101–24. London: Methuen Drama.
Boon, Richard. 2006a. About Hare: The Playwright and the Work. London: Faber.
———. 2006b. About Hare: The Playwright and the Work. London: Faber.
———. 2006c. About Hare: The Playwright and the Work. London: Faber.
———. 2007a. The Cambridge Companion to David Hare. Cambridge: Cambridge University Press.
———, ed. 2007b. The Cambridge Companion to David Hare. Vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544.
———, ed. 2007c. The Cambridge Companion to David Hare. Vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544.
———. 2007d. The Cambridge Companion to David Hare. Cambridge: Cambridge University Press.
———, ed. 2007e. The Cambridge Companion to David Hare. Vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544.
———. 2007f. The Cambridge Companion to David Hare. Cambridge: Cambridge University Press.
Brady, Sara. 2012a. Performance, Politics, and the War on Terror: ‘Whatever It Takes’. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2012b. Performance, Politics, and the War on Terror: ‘Whatever It Takes’. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
Brenton, Howard. 2005a. ‘Paul’. In Paul. London: Nick Hern. https://doi.org/10.5040/9781784600082.00000002.
———. 2005b. Paul. London: Nick Hern.
Brown, Ian. 2011. The Edinburgh Companion to Scottish Drama. Vol. Edinburgh companions to Scottish literature. Edinburgh: Edinburgh University Press.
Buffini, Moira. 2010a. Welcome to Thebes. London: Faber and Faber.
———. 2010b. ‘Welcome to Thebes’. In Welcome to Thebes. London: Faber and Faber. https://doi.org/10.5040/9780571289974.00000006.
Bush, Sophie. 2013a. The Theatre of Timberlake Wertenbaker. Vol. Critical companions. London: Bloomsbury.
———. 2013b. The Theatre of Timberlake Wertenbaker. Vol. Critical companions. London: Bloomsbury.
Cambridge Companions Complete Collection. 2000. The Cambridge Companion to Modern British Women Playwrights. Edited by Elaine Aston and Janelle Reinelt. Vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521594226.
———. 2009a. The Cambridge Companion to Caryl Churchill. Edited by Elaine Aston and Elin Diamond. Vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521493222.
———. 2009b. The Cambridge Companion to Harold Pinter. Edited by Peter Raby. Vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093.
———. 2009c. The Cambridge Companion to Harold Pinter. Edited by Peter Raby. Vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093.
Capancioni, Claudia, and Sibylle Eyrle. 2012a. ‘‘"Have You No Compassion?”: Danny Boyle’s and Nick Dear’s Re-Examination of Monstrosity in Frankenstein’’. Textus: English Studies in Italy 3: 133–46.
———. 2012b. ‘‘"Have You No Compassion?”: Danny Boyle’s and Nick Dear’s Re-Examination of Monstrosity in Frankenstein’’. Textus: English Studies in Italy 3: 133–46.
Cave, Richard Allen. 1989. New British Drama in Performance on the London Stage, 1970 to 1985. Gerrards Cross: Colin Smythe.
Chambers, Colin. 2002. The Continuum Companion to Twentieth Century Theatre. London: Continuum.
———. 2004. Inside the Royal Shakespeare Company: Creativity and the Institution. New York: Routledge.
———. 2011a. Black and Asian Theatre in Britain: A History. London: Routledge.
———. 2011b. Black and Asian Theatre in Britain: A History. London: Routledge.
Chambers, Colin, and Vera Gottlieb. 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): 75–91. http://www.jstor.org/stable/41154260.
———. 2005b. ‘“In Better Places”: Space, Identity, and Alienation in Sarah Kane’s “Blasted”’. Comparative Drama 39 (1): 75–91. http://www.jstor.org/stable/41154260?seq=1#page_scan_tab_contents.
Churchill, Caryl. 2000a. Far Away. London: Nick Hern.
———. 2000b. ‘Far Away’. In Far Away. London: Nick Hern. https://doi.org/10.5040/9781784602420.00000003.
———. 2002a. Serious Money. Vol. Methuen student edition. London: Methuen.
———. 2002b. Serious Money. Vol. Methuen student edition. London: Methuen. https://doi.org/10.5040/9781408169520.00000121.
Clements, Rachel. 2014. ‘Deconstructive Techniques and Spectral Technologies in Katie Mitchell’s’. Contemporary Theatre Review 24 (3): 331–41. https://doi.org/10.1080/10486801.2014.921051.
Cousin, Geraldine. 1989. Churchill: The Playwright. Vol. Modern theatre profiles. London: Methuen.
‘Dan Rebellato Blog’. n.d. http://www.danrebellato.co.uk/links/.
Dear, Nick, and Mary Wollstonecraft Shelley. 2011a. Frankenstein. London: Faber and Faber.
———. 2011b. ‘Frankenstein’. In Frankenstein. London: Faber and Faber. https://doi.org/10.5040/9780571294060.00000006.
Derbyshire, Harry. 2007. ‘Roy Williams: Representing Multicultural Britain in Fallout’. Modern Drama 50 (3): 414–34. https://doi.org/10.1353/mdr.2007.0054.
Devine, Harriet. 2006a. Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.
———. 2006b. Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.
———. 2006c. Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.
———. 2006d. Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber.
———. 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. n.d.
D’Monté, Rebecca, and Graham Saunders. 2007a. Cool Britannia?: British Political Drama in the 1990s. Basingstoke: Palgrave Macmillan.
———. 2007b. Cool Britannia?: British Political Drama in the 1990s. Basingstoke: Palgrave Macmillan.
———. 2007c. Cool Britannia?: British Political Drama in the 1990s. Basingstoke: Palgrave Macmillan.
‘Doing a Geographical’. 2006a. Contemporary Theatre Review 16 (1): 144–64. https://doi.org/10.1080/10486800600671502.
‘———’. 2006b. Contemporary Theatre Review 16 (1): 144–64. https://doi.org/10.1080/10486800600671502.
Dorney, Kate. 2009a. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.
———. 2009b. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.
———. 2009c. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.
———. 2009d. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.
———. 2009e. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.
———. 2009f. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.
———. 2009g. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475.
———. 2009h. The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan.
Dromgoole, Dominic. 2000. The Full Room: An A-Z of Contemporary Playwriting. London: Methuen.
Duggan, Patrick. 2012a. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester: Manchester University Press.
———. 2012b. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester: Manchester University Press.
———. 2012c. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester: Manchester University Press.
———. 2012d. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester: Manchester University Press.
Eatough, Graham, and Dan Rebellato. 2013a. The Suspect Culture Book. London: Oberon Books.
———. 2013b. The Suspect Culture Book. London: Oberon Books.
Edelman, Joshua. n.d. Performing Religion in Public. Edited by Claire Chambers and Simon Du Toit. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1514274.
———. n.d. Performing Religion in Public. Edited by Claire Chambers and Simon Du Toit. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1514274.
Edelman, Joshua, Claire Chambers, and Simon Du Toit, eds. 2013a. Performing Religion in Public. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
———, eds. 2013b. Performing Religion in Public. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Edgar, David. 1999a. Playwrights on Playwriting. Vol. State of play. Faber.
———. 1999b. Playwrights on Playwriting. Vol. State of play. Faber.
Eldridge, David. 2006. Market Boy. London: Methuen Drama.
———. 2012. ‘Market Boy’. In Plays 2. Vol. Methuen Drama contemporary dramatists. London: Methuen Drama. https://doi.org/10.5040/9781408174982.00000005.
Eyre, Richard, and Nicholas Wright. 2000. Changing Stages: A View of British Theatre in the Twentieth Century. London: Bloomsbury.
Fisher, James. 2011a. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co.
———. 2011b. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726.
———. 2011c. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726.
———. 2011d. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co.
———. 2011e. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726.
———. 2011f. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co.
Forsyth, Alison, and Chris Megson. 2009a. Get Real: Documentary Theatre Past and Present. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309.
———. 2009b. Get Real: Documentary Theatre Past and Present. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309.
———. 2009c. Get Real: Documentary Theatre Past and Present. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309.
Forsyth, Alison, and Christopher Megson. 2011a. Get Real: Documentary Theatre Past and Present. [New ed.]. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2011b. Get Real: Documentary Theatre Past and Present. [New ed.]. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2011c. Get Real: Documentary Theatre Past and Present. [New ed.]. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
Fuchs, Elinor. 1996. The Death of Character: Perspectives on Theater after Modernism. Vol. Drama and performance studies. 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): 54–81. http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/165/pdf_3.
———. 2013b. ‘Psychological Liminality in Anthony Neilson’s The Wonderful World of Dissocia.’ International Journal of Scottish Theatre and Screen 6 (1): 54–81. http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/165/pdf_3.
Gharavi, Lance. 2012a. Religion, Theatre, and Performance: Acts of Faith. Vol. Routledge advances in theatre&performing studies. New York: Routledge.
———. 2012b. Religion, Theatre, and Performance: Acts of Faith. Vol. Routledge advances in theatre&performing studies. New York: Routledge.
‘God Is behind Some of Our Greatest Art’. n.d. https://www.theguardian.com/stage/theatreblog/2008/apr/14/godisbehindsomeofourgrea.
Goddard, Lynette. 2007a. Staging Black Feminisms: Identity, Politics, Performances. Vol. Performance interventions. New York: Palgrave Macmillan.
———. 2007b. Staging Black Feminisms: Identity, Politics, Performances. Basingstoke: Palgrave Macmillan. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=85740.
———. 2007c. Staging Black Feminisms: Identity, Politics, Performances. Basingstoke: Palgrave Macmillan. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=85740.
———. 2007d. Staging Black Feminisms: Identity, Politics, Performances. Vol. Performance interventions. New York: Palgrave Macmillan.
———. 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, 3–17. New York: Palgrave Macmillan.
———. 2015b. Contemporary Black British Playwrights: Margins to Mainstream. New York: Palgrave Macmillan.
———. 2015c. Contemporary Black British Playwrights: Margins to Mainstream. New York: Palgrave Macmillan.
Godiwala, Dimple. 2006. Alternatives within the Mainstream: British Black and Asian Theatres. Buckinghamshire: Cambridge Scholars Press.
Green, Debbie Tucker. 2008. Random. London: Nick Hern.
green, debbie tucker. 2008. ‘Random’. In Random. Nick Hern Books. https://doi.org/10.5040/9781784601256.00000002.
Green, Debbie Tucker. 2013. Nut. London: Nick Hern Books.
green, debbie tucker. 2013. ‘Nut’. In Nut. London: Nick Hern Books. https://doi.org/10.5040/9781784601270.00000002.
Greig, David. 2003. San Diego. Vol. StageScripts. London: Faber and Faber.
———. 2007a. ‘"Rough Theatre’" IN Cool Britannia?: British Political Drama in the 1990s’. In Cool Britannia?: British Political Drama in the 1990s, 208–21. Basingstoke: Palgrave Macmillan.
———. 2007b. ‘“Rough Theatre” IN Cool Britannia? British Political Drama in the 1990s’. In Cool Britannia?: British Political Drama in the 1990s, 208–21. Basingstoke: Palgrave Macmillan.
———. 2010. ‘San Diego’. In Selected Plays 1999-2009. Faber and Faber. https://doi.org/10.5040/9780571286447.00000007.
Greig, David, Nadine Holdsworth, Dan Rebellato, Nicholas Ridout, and Caridad Svich. 2005a. ‘New Theatre Writing: Simon Stephens’’. Contemporary Theatre Review 15 (1): 156–87. https://doi.org/10.1080/1048680052000342557.
———. 2005b. ‘New Theatre Writing: Simon Stephens’’. Contemporary Theatre Review 15 (1): 156–87. https://doi.org/10.1080/1048680052000342557.
Griffin, Gabriele. 2003. Contemporary Black and Asian Women Playwrights in Britain. Vol. Cambridge studies in modern theatre. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511486036.
Griffin, Gabriele and American Council of Learned Societies. 2003. Contemporary Black and Asian Women Playwrights in Britain. Vol. Cambridge studies in modern theatre. Cambridge, UK: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07607.
Griffiths, Trevor R., and Margaret Llewellyn-Jones. 1993. British and Irish Women Dramatists since 1958: A Critical Handbook. Vol. Gender in writing. Buckingham: Open University Press.
Habermas, Jurgen. n.d. ‘Notes on a Post-Secular Society’. http://www.signandsight.com/features/1714.html.
———. n.d. ‘Notes on a Post-Secular Society’. http://www.signandsight.com/features/1714.html.
Hare, David. 1990. Racing Demon. London: Faber.
———. 1991a. Writing Left-Handed. London: Faber and Faber.
———. 1991b. Writing Left-Handed. London: Faber and Faber.
———. 1991c. Writing Left-Handed. London: Faber and Faber.
———. 1991d. Writing Left-Handed. London: Faber and Faber.
———. 2001. Racing Demon. Faber and Faber. http://www.dramaonlinelibrary.com/plays/racing-demon-iid-19583.
———. 2007. Obedience, Struggle & Revolt: Lectures on Theatre. London: Faber.
———. 2009a. The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. Vol. FF plays. London: Faber and Faber.
———. 2009b. The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. Vol. FF plays. London: Faber and Faber. https://doi.org/10.5040/9780571286461.10000005.
———. n.d. Obedience, Struggle and Revolt. Faber and Faber.
———. n.d. Obedience, Struggle and Revolt. Faber and Faber.
Hare, David, and Lyn Haill. 1993a. Asking around: Background to the David Hare Trilogy. London: Faber and Faber.
———. 1993b. Asking around: Background to the David Hare Trilogy. London: Faber and Faber.
Harpin, Anna, and Juliet L. H. Foster, eds. 2014a. Performance, Madness and Psychiatry: Isolated Acts. Basingstoke, Hampshire: Palgrave Macmillan.
———, 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): 414–34. https://doi.org/10.1353/mdr.2007.0054.
Harvie, Jen. 2005. Staging the UK. Manchester, UK: Manchester University Press.
Hingorani, Dominic. 2010. British Asian Theatre: Dramaturgy, Process and Performance. Basingstoke: Palgrave Macmillan.
Holdsworth, Nadine. 2003a. ‘Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre’. Contemporary Theatre Review 13 (2): 25–39. https://doi.org/10.1080/920087167.
———. 2003b. ‘Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre’. Contemporary Theatre Review 13 (2): 25–39. https://doi.org/10.1080/920087167.
———. 2007. ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’. In A Concise Companion to Contemporary British and Irish Drama, 125–45. Malden, Mass: Blackwell. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.
———. 2008a. ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’. In A Concise Companion to Contemporary British and Irish Drama, Blackwell concise companions to literature and culture:125–45. Malden, MA: Blackwell.
———. 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, Blackwell concise companions to literature and culture:125–45. Malden, MA: Blackwell. http://lib.myilibrary.com/Open.aspx?id=106920.
———. 2013a. ‘“David Greig” IN Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009’. In Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades:169–89. London: Bloomsbury.
———. 2013b. ‘“David Greig” IN Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009’. In Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades:169–89. London: Bloomsbury.
Holdsworth, Nadine, and Mary Luckhurst. 2007. A Concise Companion to Contemporary British and Irish Drama. Malden, Mass: Blackwell. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.
Homden, Carol. 1995a. The Plays of David Hare. Cambridge: Cambridge University Press.
———. 1995b. The Plays of David Hare. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CBO9780511627668.
———. 1995c. The Plays of David Hare. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CBO9780511627668.
———. 1995d. The Plays of David Hare. Cambridge: Cambridge University Press.
Iball, Helen. 2008a. Sarah Kane’s Blasted. Vol. Continuum modern theatre guides. London: Continuum.
———. 2008b. Sarah Kane’s Blasted. Vol. Continuum modern theatre guides. London: Continuum. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787.
———. 2008c. Sarah Kane’s Blasted. Vol. Continuum modern theatre guides. London: Continuum. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787.
———. 2008d. Sarah Kane’s Blasted. Vol. Continuum modern theatre guides. London: Continuum.
Innes, Christopher. 2002. Modern British Drama: The Twentieth Century. New York: Cambridge University Press.
———. 2011a. ‘Simon Stephens’. In The Methuen Drama Guide to Contemporary British Playwrights, 445–65. London: Methuen Drama.
———. 2011b. ‘“Simon Stephens” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 445–65. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011c. ‘“Simon Stephens” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 445–65. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011d. ‘“Simon Stephens” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 445–65. London: Methuen Drama.
Jones, Charlotte. 2001. Humble Boy. Vol. FF plays. London: Faber and Faber.
———. 2004. ‘Humble Boy’. In Charlotte Jones Plays 1. Faber and Faber. https://doi.org/10.5040/9780571289509.00000069.
Jürs-Munby, Karen, Jerome Carroll, and Steven Giles, eds. 2013. Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance. Vol. Methuen Drama engage. London: Bloomsbury.
Kane, Sarah, and Ken Urban. 2011. Blasted. Vol. Methuen drama student editions. London: Methuen Drama.
Kelleher, Joe. 2009. Theatre & Politics. Vol. Theatre&. Basingstoke: Palgrave Macmillan.
King, Mike. 2009a. Postsecularism: The Hidden Challenge to Extremism. Cambridge: James Clarke.
———. 2009b. Postsecularism: The Hidden Challenge to Extremism. Cambridge: James Clarke.
Kirkwood, Lucy. 2013a. Chimerica. Revised edition. London: Nick Hern Books.
———. 2013b. ‘Chimerica’. In Chimerica, Revised edition. London: Nick Hern Books. https://doi.org/10.5040/9781784600266.00090006.
Kritzer, Amelia Howe. 1990. The Plays of Caryl Churchill: Theatre of Empowerment. London: Macmillan.
———. 2008a. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2008b. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.
———. 2008c. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.
———. 2008d. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2008e. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.
———. 2008f. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2008g. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.
———. 2008h. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2008i. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.
———. 2008j. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
———. 2008k. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863.
———. 2008l. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Vol. Performance interventions. Basingstoke: Palgrave Macmillan.
Kustow, Michael. 2000. Theatre@risk. London: Methuen.
Kwei-Armah, Kwame. 2003. Elmina’s Kitchen. Vol. Methuen modern plays. London: Methuen.
———. 2009. ‘Elmina’s Kitchen’. In Plays :1. Vol. Contemporary dramatists. London: Methuen Drama. https://doi.org/10.5040/9781350025882.00000012.
Lane, David. 2010a. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press.
———. 2010b. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.
———. 2010c. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press.
———. 2010d. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.
———. 2010e. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press.
———. 2010f. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.
———. 2010g. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press.
———. 2010h. Contemporary British Drama. Vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981.
Lehmann, Hans-Thies. 2006a. Postdramatic Theatre. Abingdon: Routledge.
———. 2006b. Postdramatic Theatre. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406.
———. 2006c. Postdramatic Theatre. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406.
———. 2006d. Postdramatic Theatre. Abingdon: Routledge.
Little, Ruth, and Emily McLaughlin. 2007. The Royal Court Theatre inside Out. London: Oberon Books.
Luckhurst, Mary. 2003. ‘Political Point-Scoring: Martin Crimp’s Attempts on Her Life’. Contemporary Theatre Review 13 (1): 47–60. https://doi.org/10.1080/1048680032000086468.
———. 2005a. ‘Infamy and Dying Young: Sarah Kane, 1971-1999’. In Theatre and Celebrity in Britain, 1660-2000, 107–26. New York: Palgrave Macmillan.
———. 2005b. ‘Infamy and Dying Young: Sarah Kane, 1971-1999’. In Theatre and Celebrity in Britain, 1660-2000, 107–26. New York: Palgrave Macmillan. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780230523845.
———. 2005c. ‘Infamy and Dying Young: Sarah Kane, 1971-1999’. In Theatre and Celebrity in Britain, 1660-2000, 107–26. New York: Palgrave Macmillan.
———. 2006. A Companion to Modern British and Irish Drama, 1880-2005. Vol. Blackwell companions to literature and culture. Malden, Mass: Blackwell. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=350880.
———. 2010a. A Companion to Modern British and Irish Drama, 1880-2005. Pbk. ed. Vol. Blackwell companions to literature and culture. Chichester: Wiley-Blackwell.
———. 2010b. ‘Sarah Kane: From Terror to Trauma’. In A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture:371–82. Chichester: Wiley-Blackwell. http://ezproxy01.rhul.ac.uk/login?url=https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780470751473.
Lustgarten, Anders. 2010. ‘A Day At The Racists’. In A Day at the Racists. Bloomsbury Publishing. https://doi.org/10.5040/9781408184608.00000002.
———. 2013a. If You Don’t Let Us Dream, We Won’t Let You Sleep. London: Bloomsbury Methuen Drama.
———. 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. https://doi.org/10.5040/9781472506733.00000006.
Marsh, Nicky. 2011a. ‘Desire and Disease in the Speculative Economy: A Critique of the Language of Crisis’. Journal of Cultural Economy 4 (3): 301–14. https://doi.org/10.1080/17530350.2011.586851.
———. 2011b. ‘Desire and Disease in the Speculative Economy: A Critique of the Language of Crisis’. Journal of Cultural Economy 4 (3): 301–14. https://doi.org/10.1080/17530350.2011.586851.
McConachie, Bruce A. 2013a. Theatre & Mind. Vol. Theatre&. Basingstoke, Hampshire: Palgrave Macmillan.
———. 2013b. Theatre & Mind. Vol. Theatre&. Basingstoke, Hampshire: Palgrave Macmillan.
McDowell, Linda. 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): 193–205. http://www.jstor.org/stable/23020812.
———. 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): 193–205. http://www.jstor.org/stable/23020812.
Megson, Chris. 2013a. ‘‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination’ IN Contemporary British Theatre: Breaking New Ground’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 32–56. Basingstoke: Palgrave Macmillan. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670.
———. 2013b. ‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination" IN Contemporary British Theatre: Breaking New Ground’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 32–56. Basingstoke: Palgrave Macmillan. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670.
———. 2016a. ‘Beyond Belief: British Theatre and the “Re-Enchantment of the World”’. In Twenty-First Century Drama: What Happens Now, 37–57. London: Palgrave Macmillan. http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.
———. 2016b. ‘Beyond Belief: British Theatre and the “Re-Enchantment of the World”’. In Twenty-First Century Drama: What Happens Now, 37–57. London: Palgrave Macmillan. http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.
———. 2016c. ‘"Beyond Belief: British Theatre and the “Re-Enchantment of the World” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, 37–57. London: Palgrave Macmillan.
———. 2016d. ‘"Beyond Belief: British Theatre and the “Re-Enchantment of the World” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, 37–57. London: Palgrave Macmillan.
———. n.d. ‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination’ IN Contemporary British Theatre: Breaking New Ground’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 32–56. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.
———. n.d. ‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination" IN Contemporary British Theatre: Breaking New Ground’. In Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, 32–56. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131.
Megson, Christopher. 2012. Modern British Playwriting: Voices, Documents, New Interpretations, The 1970s. Vol. Decades. London: Methuen Drama.
Middeke, Martin. 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, 96–113. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137297570.
———. 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 Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 96–113. Basingstoke, Hampshire: Palgrave Macmillan. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9002485320002671&institutionId=2671&customerId=2670.
Middeke, Martin, Peter Paul Schnierer, and Aleks Sierz. 2011a. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
———. 2011b. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011c. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011d. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
———. 2011e. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011f. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
———. 2011g. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011h. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
———. 2011i. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011j. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
———. 2011k. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011l. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
———. 2011m. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011n. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
———. 2011o. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011p. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama.
Milling, Jane. 2012a. Modern British Playwriting: Voices, Documents, New Interpretations, The 1980s. Vol. Decades. London: Methuen Drama.
———. 2012b. Modern British Playwriting: Voices, Documents, New Interpretations, the 1980s. Vol. Decades. London: Methuen Drama. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1080374.
Neilson, Anthony. 1998a. ‘Penetrator’. In Plays 1. Vol. Methuen contemporary dramatists. London: Methuen.
———. 1998b. ‘Penetrator’. In Plays 1. Vol. Methuen contemporary dramatists. London: Methuen. https://doi.org/10.5040/9781408175088.00000041.
———. 2007a. The Wonderful World of Dissocia. London: Methuen Drama.
———. 2007b. The Wonderful World of Dissocia. London: Methuen Drama.
Nevitt, Lucy. 2013a. Theatre & Violence. Vol. Theatre&. Basingstoke: Palgrave Macmillan.
———. 2013b. Theatre & Violence. Vol. Theatre&. Basingstoke: Palgrave Macmillan.
Nicholas Ruddick. n.d. ‘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): 119–37. http://www.jstor.org/stable/41274077?seq=1#page_scan_tab_contents.
Nicholson, Steve. 2012a. Modern British Playwriting: Voices, Documents, New Interpretations, the 1960s. Vol. Decades. London: Methuen Drama.
———. 2012b. Modern British Playwriting: Voices, Documents, New Interpretations, the 1960s. Vol. Decades. London: Methuen Drama. 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): 415–31. http://www.jstor.org/stable/43308478.
Nield, Sophie. 2015a. ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’. In The Grammar of Politics and Performance, Interventions:121–33. London: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871.
———. 2015b. ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’. In The Grammar of Politics and Performance, Interventions:121–33. London: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871.
———. 2016. ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’. In The Grammar of Politics and Performance, edited by Shirin Rai and Janelle G. Reinelt, 121–33. London: Routledge.
Nielsen, Lara D., and Patricia A. Ybarra. 2012a. Neoliberalism and Global Theatres: Performance Permutations. Vol. Studies in international performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
———. 2012b. Neoliberalism and Global Theatres: Performance Permutations. Vol. Studies in international performance. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590.
———. 2012c. Neoliberalism and Global Theatres: Performance Permutations. Vol. Studies in international performance. Basingstoke: Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590.
———. 2012d. Neoliberalism and Global Theatres: Performance Permutations. Vol. Studies in international performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Obedience, Struggle and Revolt. n.d. Faber and Faber. https://doi.org/10.5040/9780571284870.
———. n.d. Faber and Faber. http://www.dramaonlinelibrary.com/context-and-criticism/obedience-struggle-and-revolt-iid-19027.
Osborne, Diedre. 2011. ‘“Roy Williams” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 487–509. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
Osborne, Dierdre. 2011a. ‘Roy Williams’. In The Methuen Drama Guide to Contemporary British Playwrights, 487–509. London: Methuen Drama.
———. 2011b. ‘“Roy Williams” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 487–509. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011c. ‘“Roy Williams” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 487–509. London: Methuen Drama.
O’Thomas, Mark. 2016a. ‘Translating Austerity: Theatrical Responses to the Financial Crisis’. In Twenty-First Century Drama: What Happens Now, edited by Siân Helen Adiseshiah and Louise LePage, 129–48. London: Palgrave Macmillan.
———. 2016b. ‘Translating Austerity: Theatrical Responses to the Financial Crisis’. In Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, 129–48. London: Palgrave Macmillan. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137484031.
———. 2016c. ‘“Translating Austerity: Theatrical Responses to the Financial Crisis” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Si�n Helen Adiseshiah and Louise LePage, 129–48. London: Palgrave Macmillan.
Owen, Louise. 2016a. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, 107–27. London: Palgrave Macmillan.
———. 2016b. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Adiseshiah and Louise LePage, 107–27. London: Palgrave Macmillan. http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.
———. 2016c. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Adiseshiah and Louise LePage, 107–27. London: Palgrave Macmillan. http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.
———. 2016d. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, 107–27. London: Palgrave Macmillan.
Patterson, Michael. 2003. Strategies of Political Theatre: Post-War British Playwrights. Vol. Cambridge studies in modern theatre. Cambridge: Cambridge University Press.
Patterson, Michael and American Council of Learned Societies. 2003. Strategies of Political Theatre. Vol. Cambridge studies in modern theatre. Cambridge, UK: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07610.
Pattie, David. 2012a. Modern British Playwriting: Voices, Documents, New Interpretations, The 1950s. Vol. Decades. London: Methuen Drama.
———. 2012b. Modern British Playwriting: Voices, Documents, New Interpretations, the 1950s. Vol. Decades. London: Methuen Drama. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1085187.
Payne, Nick. 2012a. Constellations. London: Faber.
———. 2012b. ‘Constellations’. In Constellations. London: Faber. https://doi.org/10.5040/9780571313655.00000006.
Peacock, D. 1999. Thatcher’s Theatre: British Theatre and Drama in the Eighties. Vol. Contributions in drama and theatre studies. Westport, Conn: Greenwood Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=495161.
Peacock, D. Keith. 1999. Thatcher’s Theatre: British Theatre and Drama in the Eighties. Vol. Contributions in drama and theatre studies. Greenwood.
Peacock, Keith. 2006. ‘The Question of Multiculturalism: The Plays of Roy Williams’. In A Companion to Modern British and Irish Drama, 1880-2005, Blackwell companions to literature and culture:530–40. Malden, Mass: Blackwell. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780470751473.
———. 2007a. ‘Black British Drama and the Politics of Identity’. In A Concise Companion to Contemporary British and Irish Drama, 48–65. Malden, Mass: Blackwell. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.
———. 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, 48–65. Malden, Mass: Blackwell. http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920.
———. 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, 48–65. Malden, Mass: Blackwell.
———. 2010a. ‘The Question of Multiculturalism: The Plays of Roy Williams’. In A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture:530–40. Chichester: Wiley-Blackwell.
———. 2010b. ‘The Question of Multiculturalism: The Plays of Roy Williams’. In A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture:530–40. Chichester: Wiley-Blackwell. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780470751473.
———. 2010c. ‘“The Question of Multiculturalism: The Plays of Roy Williams” IN’. In A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture:530–40. Chichester: Wiley-Blackwell.
Pearce, Michael. 2013. ‘“Roy Williams” IN Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009’. In Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades:145–68. London: Bloomsbury.
Pearce, Micheal. 2013. ‘Roy Williams’. In Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades:145–68. London: Bloomsbury.
Penhall, Joe. 2000. Blue/Orange. London: Methuen.
Pinter, Harold. 1993. ‘The New World Order’. In Party Time ; And, the New World Order: Two Plays. New York: Grove Press.
———. 2012. ‘The New World Order’. In Harold Pinter: Plays 4. Faber and Faber. https://doi.org/10.5040/9780571291793.00000064.
‘Playwright’s Podcast - Royal Court’. n.d. https://royalcourttheatre.com/podcasts/.
Prebble, Lucy. 2009a. Enron. London: Methuen Drama.
———. 2009b. Enron. London: Methuen Drama. http://www.dramaonlinelibrary.com/plays/enron-iid-128921.
———. 2013a. The Effect. London: Bloomsbury Methuen Drama.
———. 2013b. ‘The Effect’. In The Effect. London: Bloomsbury Methuen Drama. https://doi.org/10.5040/9781408185094.00000006.
Price, Tim. 2012. ‘The Radicalisation of Bradley Manning’. In The Radicalisation of Bradley Manning. Bloomsbury Publishing. https://doi.org/10.5040/9781408172902.00000002.
Rabey, David Ian. 2003. English Drama since 1940. Vol. Longman literature in English series. Harlow: Longman.
Rabillard, Sheila Mary. 1998. Essays on Caryl Churchill: Contemporary Representations. Winnipeg: Blizzard Pub.
Raby, Peter. 2009a. The Cambridge Companion to Harold Pinter. 2nd ed. Vol. Cambridge companions to literature. Cambridge: Cambridge University Press.
———. 2009b. The Cambridge Companion to Harold Pinter. 2nd ed. Vol. Cambridge companions to literature. Cambridge: Cambridge University Press.
Rae, Paul. 2009a. Theatre & Human Rights. Vol. Theatre&. Basingstoke: Palgrave Macmillan.
———. 2009b. Theatre & Human Rights. Vol. Theatre&. Basingstoke: Palgrave Macmillan.
Rai, Shirin. 2015. The Grammar of Politics and Performance. Edited by Janelle G. Reinelt. Vol. Interventions. London: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871.
Randall, Phyllis R. 1989. Caryl Churchill: A Casebook. Vol. Garland reference library of the humanities. New York: Garland.
Ravenhill, Mark. 2008a. ‘Product’. In Plays 2. London: Methuen Drama. https://doi.org/10.5040/9781408167670.00000037.
———. 2008b. ‘The Cut’. In Plays 2. London: Methuen Drama. https://doi.org/10.5040/9781408167670.00000041.
———. n.d. ‘God Is behind Some of Our Greatest Art’. https://www.theguardian.com/stage/theatreblog/2008/apr/14/godisbehindsomeofourgrea.
Ravenhill, Mark, and Mark Ravenhill. 2006a. Product. London: Methuen Drama.
———. 2006b. The Cut. London: Methuen Drama.
Ravenhill, Mark, and Dan Rebellato. 2005a. Shopping and Fucking. Student ed. London: Methuen.
———. 2005b. ‘Shopping and Fucking’. In Shopping and Fucking, Student ed. London: Methuen. https://doi.org/10.5040/9781408168509.00000026.
Rebellato, Dan. 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): 61–80. https://doi.org/10.1080/1048680031000077825.
———. 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): 61–80. https://doi.org/10.1080/1048680031000077825.
———, ed. 2013. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009. Vol. Decades. London: Bloomsbury.
Rebellato, Dan, and Mark Ravenhill. 2009a. Theatre & Globalization. Vol. Theatre&. Basingstoke: Palgrave Macmillan.
———. 2009b. Theatre & Globalization. Vol. Theatre&. Basingstoke: Palgrave Macmillan.
Rees, Catherine. 2012a. ‘“Anthony Neilson” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. In Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades:137–63. London: Methuen Drama.
———. 2012b. ‘Sarah Kane’. In Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, Decades:112–37. London: Methuen Drama.
———. 2012c. ‘“Sarah Kane” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. In Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades:112–37. London: Methuen Drama. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1748076.
Reid, Trish. 2011a. ‘“Post-Devolutionary Drama” IN The Edinburgh Companion to Scottish Drama’. In The Edinburgh Companion to Scottish Drama, Edinburgh companions to Scottish literature:188–99. Edinburgh: Edinburgh University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670.
———. 2011b. ‘“Post-Devolutionary Drama” IN The Edinburgh Companion to Scottish Drama’. In The Edinburgh Companion to Scottish Drama, Edinburgh companions to Scottish literature:188–99. Edinburgh: Edinburgh University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409327080002671&institutionId=2671&customerId=2670.
———. 2011c. ‘“Post-Devolutionary Drama” IN The Edinburgh Companion to Scottish Drama’. In The Edinburgh Companion to Scottish Drama, Edinburgh companions to Scottish literature:188–99. Edinburgh: Edinburgh University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670.
———. 2016a. ‘“Sexy Kilts with Attitude Scottish Theatre in the Twenty-First Century” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Adiseshiah and Louise LePage, 191–211. London: Palgrave Macmillan. http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031.
———. 2016b. ‘“Sexy Kilts with Attitude Scottish Theatre in the Twenty-First Century” IN Twenty-First Century Drama: What Happens Now’. In Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, 191–211. London: Palgrave Macmillan.
Reinelt, Janelle. 1994a. After Brecht: British Epic Theater. Vol. Theater : theory/text/performance. Ann Arbor: University of Michigan Press.
———. 1994b. After Brecht: British Epic Theater. Vol. Theater : theory/text/performance. Ann Arbor: University of Michigan Press.
———. 2011a. ‘David Greig’. In The Methuen Drama Guide to Contemporary British Playwrights, 203–22. London: Methuen Drama. http://lib.myilibrary.com?id=604121.
———. 2011b. ‘“David Greig” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 203–22. London: Methuen Drama.
———. 2011c. ‘“David Greig” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 203–22. London: Methuen Drama. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9264764140002671&institutionId=2671&customerId=2670.
———. 2011d. ‘“David Greig” IN The Methuen Drama Guide to Contemporary British Playwrights’. In The Methuen Drama Guide to Contemporary British Playwrights, 203–22. London: Methuen Drama. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409282230002671&institutionId=2671&customerId=2670.
Reinelt, Janelle G. 2007a. ‘Selective Affinities: British Playwrights at Work’. Modern Drama 50 (3): 305–45. https://doi.org/10.1353/mdr.2007.0060.
———. 2007b. ‘Selective Affinities: British Playwrights at Work’. Modern Drama 50 (3): 305–45. https://doi.org/10.1353/mdr.2007.0060.
Ridley, Philip. 2005a. Mercury Fur. London: Methuen Drama.
———. 2005b. Mercury Fur. London: Methuen Drama. https://doi.org/10.5040/9781408182826.00000002.
Roberts, Philip. 1999. The Royal Court Theatre and the Modern Stage. Cambridge University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13401176580002671&institutionId=2671&customerId=2670.
———. 2008. About Churchill: The Playwright and the Work. London: Faber and Faber.
Roberts, Philip and American Council of Learned Societies. 1999. The Royal Court Theatre and the Modern Stage. Vol. Cambridge studies in modern theatre. Cambridge, UK: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07570.
Roth, Maya. 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, Dramaturgies:155–76. Bruxelles: P.I.E. Peter Lang.
———. 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, Dramaturgies:155–76. Bruxelles: P.I.E. Peter Lang.
Roth, Maya, and Sara Freeman. 2008a. International Dramaturgy: Translation & Transformations in the Theatre of Timberlake Wertenbaker. Scientific international ed. Vol. Dramaturgies. Bruxelles: P.I.E. Peter Lang.
———. 2008b. International Dramaturgy: Translation & Transformations in the Theatre of Timberlake Wertenbaker. Scientific international ed. Vol. Dramaturgies. Bruxelles: P.I.E. Peter Lang.
Sakellaridou, Elizabeth. 2014. ‘Cruel or Tender? Protocols of Atrocity, New and Old’. Contemporary Theatre Review 24 (3): 363–72. https://doi.org/10.1080/10486801.2014.921055.
Sara Freeman. 2010a. ‘Tragedy After Darwin: Timberlake Wertenbaker Remakes “Modern” Tragedy’. Comparative Drama 44 (2): 201–27. http://www.jstor.org/stable/23038112.
———. 2010b. ‘Tragedy After Darwin: Timberlake Wertenbaker Remakes “Modern” Tragedy’. Comparative Drama 44 (2): 201–27. http://www.jstor.org/stable/23038112.
Saunders, Graham. 2002a. ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes. Manchester: Manchester University Press.
———. 2002b. ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes. Manchester: Manchester University Press.
———. 2012. ‘“Mark Ravenhill” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. In Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades:163–88. London: Methuen Drama.
Saunders, Graham, and Sarah Kane. 2009a. About Kane: The Playwright and the Work. London: Faber.
———. 2009b. About Kane: The Playwright and the Work. London: Faber.
Schlote, Christiane. 2014a. ‘“From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 173–89. Basingstoke, Hampshire: Palgrave Macmillan.
———. 2014b. ‘“From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 173–89. Basingstoke, Hampshire: Palgrave Macmillan. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
Shank, Theodore. 1994. Contemporary British Theatre. Basingstoke: Macmillan.
Shellard, Dominic. 1999. British Theatre since the War. New Haven: Yale University Press.
Shepherd, Simon. 2009. The Cambridge Introduction to Modern British Theatre. Vol. Cambridge introductions to literature. Cambridge, UK: Cambridge University Press.
Shepherd-Barr, Kirsten. 2002a. ‘Copenhagen and Beyond: The "Rich and Mentally Nourishing” Interplay of Science and Theatre’. Gramma: Journal of Theory and Criticism 10: 171–82. http://www.enl.auth.gr/gramma/gramma02/Barr.pdf.
———. 2002b. ‘Copenhagen and Beyond: The "Rich and Mentally Nourishing” Interplay of Science and Theatre’. Gramma: Journal of Theory and Criticism 10: 171–82. http://www.enl.auth.gr/gramma/gramma02/Barr.pdf.
———. 2006a. Science on Stage: From Doctor Faustus to Copenhagen. Princeton: Princeton University Press.
———. 2006b. Science on Stage: From Doctor Faustus to Copenhagen. Princeton: Princeton University Press.
———. 2008a. ‘Darwin on Stage: Evolutionary Theory in the Theatre’. Interdisciplinary Science Reviews 33 (2): 107–15. http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf.
———. 2008b. ‘Darwin on Stage: Evolutionary Theory in the Theatre’. Interdisciplinary Science Reviews 33 (2): 107–15. http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf.
Sierz, Aleks. 2001a. In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.
———. 2001b. In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.
———. 2001c. In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.
———. 2001d. In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.
———. 2006. The Theatre of Martin Crimp. London: Methuen Drama.
———. 2011a. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011b. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011c. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011d. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011e. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011f. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011g. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011h. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011i. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011j. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011k. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011l. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011m. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011n. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011o. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011p. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2011q. Rewriting the Nation: British Theatre Today. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867.
———. 2011r. Rewriting the Nation: British Theatre Today. London: Methuen Drama.
———. 2012a. ‘“Anthony Neilson” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. In Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s. Vol. Decades. London: Methuen Drama.
———. 2012b. ‘“Mark Ravenhill” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. In Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades:163–88. London: Methuen Drama.
———. 2012c. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s. Vol. Decades. London: Methuen Drama.
———. 2012d. ‘Philip Ridley’. In Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, Decades:112–37. London: Methuen Drama.
———. 2012e. ‘Philip Ridley’e’. In Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, Decades:88–111. London: Methuen Drama.
Sierz, Aleks, and Martin Crimp. 2006. The Theatre of Martin Crimp. London: Methuen Drama. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781408147290.
Sinfield, Alan. 1999. Out on Stage: Lesbian and Gay Theatre in the Twentieth Century. New Haven, Conn: Yale University Press.
Soto-Morettini, Donna. 2005. ‘Trouble in the House: David Hare’s’. Contemporary Theatre Review 15 (3): 309–19. https://doi.org/10.1080/10267160500217640.
Stenham, Polly. 2007. ‘That Face’. In That Face. Faber and Faber. https://doi.org/10.5040/9780571285471.00000005.
Stenham, Polly, Mothers and daughters, Mothers and sons, and Royal Court Theatre. 2008. That Face. Rev. ed. London: Faber.
Stephens, Simon. 2009. Punk Rock. London: Methuen Drama. https://doi.org/10.5040/9781408167250.00000004.
———. 2012a. Three Kingdoms. London: Methuen Drama.
———. 2012b. ‘Three Kingdoms’. In Three Kingdoms. London: Methuen Drama. https://doi.org/10.5040/9781408172988.00000005.
Stephenson, Heidi, and Natasha Langridge. 1997a. Rage and Reason: Women Playwrights on Playwriting. London: Methuen.
———. 1997b. Rage and Reason: Women Playwrights on Playwriting. London: Methuen.
Stern, Tom. 2014. Philosophy and Theatre: An Introduction. London: Routledge.
Svich, Caridad. 2003a. Trans-Global Readings: Crossing Theatrical Boundaries. Vol. Theatre: theory-practice-performance. Manchester: Manchester University Press.
———. 2003b. Trans-Global Readings: Crossing Theatrical Boundaries. Vol. Theatre: theory-practice-performance. Manchester: Manchester University Press.
———. 2003c. ‘“Commerce and Morality in the Theatre of Mark Ravenhill”’. Contemporary Theatre Review 13 (1): 81–95. https://doi.org/10.1080/1048680031000077799.
———. 2003d. ‘“Commerce and Morality in the Theatre of Mark Ravenhill”’. Contemporary Theatre Review 13 (1): 81–95. https://doi.org/10.1080/1048680031000077799.
Taylor-Batty, Mark. 2014a. ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990’. In Ethical Speculations in Contemporary British Theatre, 59–75. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137297570.
———. 2014b. ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 59–75. Basingstoke, Hampshire: Palgrave Macmillan.
———. 2014c. ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 59–75. Basingstoke, Hampshire: Palgrave Macmillan. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
———. 2014d. ‘“How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s” IN Ethical Speculations in Contemporary British Theatre’. In Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, 59–75. Basingstoke, Hampshire: Palgrave Macmillan. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9264924710002671&institutionId=2671&customerId=2670.
———. 2014e. The Theatre of Harold Pinter. Vol. Critical companions. London: Bloomsbury Publishing.
———. 2014f. The Theatre of Harold Pinter. Vol. Critical companions. London: Bloomsbury Publishing.
Tempest, Kate. 2014a. Wasted. London: Bloomsbury Methuen Drama.
———. 2014b. Wasted. London: Bloomsbury Methuen Drama.
‘Theatre Voice’. n.d. http://www.theatrevoice.com/.
‘This Is All Theatre”: Iraq Centrestage’. 2005. Contemporary Theatre Review 15 (3): 369–86. 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. Vol. Contemporary performance interActions. Basingstoke: Palgrave Macmillan.
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