Bibliography for DT3314: Contemporary British Theatre: Politics & Philosophy

[1]
S. Kane and K. Urban, Blasted, vol. Methuen drama student editions. London: Methuen Drama, 2011.

[2]
E. Aston, ‘Reviewing the Fabric of Blasted’, in Sarah Kane in Context, Manchester: Manchester University Press, 2011, pp. 13–27.

[3]
H. Pinter, ‘The New World Order’, in Harold Pinter: Plays 4, Faber and Faber, 2012 [Online]. Available: http://www.dramaonlinelibrary.com/plays/the-new-world-order-iid-134604

[4]
H. Pinter, ‘The New World Order’, in Party Time ; And, the New World Order: Two Plays, New York: Grove Press, 1993.

[5]
A. Neilson, ‘Penetrator’, in Plays 1, vol. Methuen contemporary dramatists, London: Methuen, 1998.

[6]
A. Neilson, ‘Penetrator’, in Plays 1, vol. Methuen contemporary dramatists, London: Methuen, 1998 [Online]. Available: http://www.dramaonlinelibrary.com/plays/penetrator-iid-111986

[7]
P. Ridley, Mercury Fur. London: Methuen Drama, 2005.

[8]
P. Ridley, Mercury Fur. London: Methuen Drama, 2005 [Online]. Available: http://www.dramaonlinelibrary.com/plays/mercury-fur-iid-127968

[9]
S. Stephens, Punk Rock. London: Methuen Drama, 2009 [Online]. Available: http://www.dramaonlinelibrary.com/plays/punk-rock-iid-12967

[10]
V. Angelaki, ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in Contemporary British Theatre: Breaking New Ground, V. Angelaki, Ed. Basingstoke: Palgrave Macmillan, 2013, pp. 57–78.

[11]
V. Angelaki, ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in Contemporary British Theatre: Breaking New Ground, V. Angelaki, Ed. Basingstoke: Palgrave Macmillan, 2013, pp. 57–78 [Online]. Available: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137010131

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

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

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

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

[16]
H. Iball, Sarah Kane’s Blasted, vol. Continuum modern theatre guides. London: Continuum, 2008.

[17]
H. Iball, Sarah Kane’s Blasted, vol. Continuum modern theatre guides. London: Continuum, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787

[18]
A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008.

[19]
A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

[20]
H.-T. Lehmann, Postdramatic Theatre. Abingdon: Routledge, 2006.

[21]
H.-T. Lehmann, Postdramatic Theatre. London: Routledge, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406

[22]
M. Luckhurst, ‘Infamy and Dying Young: Sarah Kane, 1971-1999’, in Theatre and Celebrity in Britain, 1660-2000, New York: Palgrave Macmillan, 2005, pp. 107–126.

[23]
M. Luckhurst, ‘Infamy and Dying Young: Sarah Kane, 1971-1999’, in Theatre and Celebrity in Britain, 1660-2000, New York: Palgrave Macmillan, 2005, pp. 107–126 [Online]. Available: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780230523845

[24]
M. Middeke, P. P. Schnierer, and A. Sierz, The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, 2011.

[25]
M. Middeke, P. P. Schnierer, and A. Sierz, The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, 2011 [Online]. Available: http://lib.myilibrary.com?id=604121

[26]
L. Nevitt, Theatre & Violence, vol. Theatre&. Basingstoke: Palgrave Macmillan, 2013.

[27]
P. Raby, The Cambridge Companion to Harold Pinter, 2nd ed., vol. Cambridge companions to literature. Cambridge: Cambridge University Press, 2009.

[28]
Cambridge Companions Complete Collection, The Cambridge Companion to Harold Pinter, vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press, 2009 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093

[29]
C. Rees, ‘Sarah Kane’, in Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, vol. Decades, London: Methuen Drama, 2012, pp. 112–137.

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

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

[32]
A. Sierz, In-Yer-Face Theatre: British Drama Today. London: Faber and Faber, 2001.

[33]
A. Sierz, ‘Philip Ridley’, in Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, vol. Decades, London: Methuen Drama, 2012, pp. 112–137.

[34]
A. Sierz, Rewriting the Nation: British Theatre Today. London: Methuen Drama, 2011.

[35]
A. Sierz, Rewriting the Nation: British Theatre Today. London: Methuen Drama, 2011 [Online]. Available: 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-), vol. 48, no. 2, pp. 139–171, 2004 [Online]. Available: http://www.jstor.org/stable/4488558

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

[38]
M. Taylor-Batty, ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’, in Ethical Speculations in Contemporary British Theatre, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 59–75.

[39]
M. Taylor-Batty, ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’, in Ethical Speculations in Contemporary British Theatre, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 59–75 [Online]. Available: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

[40]
M. Taylor-Batty, The Theatre of Harold Pinter, vol. Critical companions. London: Bloomsbury Publishing, 2014.

[41]
K. Urban, ‘An Ethics of Catastrophe: The Theatre of Sarah Kane’, PAJ: A Journal of Performance and Art, vol. 23, no. 3, Sep. 2001, doi: 10.2307/3246332.

[42]
L. de Vos and G. Saunders, Sarah Kane in Context. Manchester: Manchester University Press, 2011.

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

[44]
S. Waers, ‘Sarah Kane: From Terror to Trauma’, in A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed., vol. Blackwell companions to literature and culture, Chichester: Wiley-Blackwell, 2010, pp. 371–382.

[45]
M. Luckhurst, ‘Sarah Kane: From Terror to Trauma’, in A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed., vol. Blackwell companions to literature and culture, Chichester: Wiley-Blackwell, 2010, pp. 371–382 [Online]. Available: 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, vol. 39, no. 1, pp. 75–91, 2005 [Online]. Available: http://www.jstor.org/stable/41154260

[47]
L. Prebble, Enron. London: Methuen Drama, 2009.

[48]
L. Prebble, Enron. London: Methuen Drama, 2009 [Online]. Available: http://www.dramaonlinelibrary.com/plays/enron-iid-128921

[49]
M. O’Thomas, ‘Translating Austerity: Theatrical Responses to the Financial Crisis’, in Twenty-First Century Drama: What Happens Now, S. H. Adiseshiah and L. LePage, Eds. London: Palgrave Macmillan, 2016, pp. 129–48.

[50]
M. O’Thomas, ‘Translating Austerity: Theatrical Responses to the Financial Crisis’, in Twenty-First Century Drama: What Happens Now, S. H. Adiseshiah and L. LePage, Eds. London: Palgrave Macmillan, 2016, pp. 129–48 [Online]. Available: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137484031

[51]
C. Churchill, Serious Money, vol. Methuen student edition. London: Methuen, 2002.

[52]
C. Churchill, Serious Money, vol. Methuen student edition. London: Methuen, 2002 [Online]. Available: http://www.dramaonlinelibrary.com/plays/serious-money-iid-126059

[53]
D. Hare, The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis, vol. FF plays. London: Faber and Faber, 2009.

[54]
D. Hare, The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis, vol. FF plays. London: Faber and Faber, 2009 [Online]. Available: http://www.dramaonlinelibrary.com/plays/the-power-of-yes-iid-16980

[55]
J. Abrams, ‘State of the Nation: New British Theatre’, PAJ: A Journal of Performance and Art, vol. 32, no. 2, pp. 8–16, 2010, doi: 10.1162/pajj.2010.32.2.8.

[56]
R. Boon, About Hare: The Playwright and the Work. London: Faber, 2006.

[57]
R. Boon, The Cambridge Companion to David Hare. Cambridge: Cambridge University Press, 2007.

[58]
R. Boon, Ed., The Cambridge Companion to David Hare, vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press, 2007 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544

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

[60]
K. Dorney, The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan, 2009.

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

[62]
J. Fisher, To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co, 2011.

[63]
J. Fisher, To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726

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

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

[66]
D. Hare, Obedience, Struggle & Revolt: Lectures on Theatre. London: Faber, 2007.

[67]
Obedience, Struggle and Revolt. Faber and Faber [Online]. Available: http://www.dramaonlinelibrary.com/context-and-criticism/obedience-struggle-and-revolt-iid-19027

[68]
D. Hare, Writing Left-Handed. London: Faber and Faber, 1991.

[69]
C. Homden, The Plays of David Hare. Cambridge: Cambridge University Press, 1995.

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

[71]
D. Lane, Contemporary British Drama, vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press, 2010.

[72]
D. Lane, Contemporary British Drama, vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press, 2010 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981

[73]
L. McDowell, ‘Making a Drama Out of a Crisis: Representing Financial Failure, or a Tragedy in Five Acts’, Transactions of the Institute of British Geographers, vol. 36, no. 2, pp. 193–205, 2011 [Online]. Available: http://www.jstor.org/stable/23020812

[74]
N. Marsh, ‘Desire and Disease in the Speculative Economy: a critique of the language of crisis’, Journal of Cultural Economy, vol. 4, no. 3, pp. 301–314, Aug. 2011, doi: 10.1080/17530350.2011.586851.

[75]
L. Owen, ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-first century drama: what happens now’, in Twenty-first century drama: what happens now, S. H. Adiseshiah and L. LePage, Eds. London: Palgrave Macmillan, 2016, pp. 107–127.

[76]
L. Owen, ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-first century drama: what happens now’, in Twenty-first century drama: what happens now, S. Adiseshiah and L. LePage, Eds. London: Palgrave Macmillan, 2016, pp. 107–127 [Online]. Available: http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031

[77]
J. Reinelt, After Brecht: British epic theater, vol. Theater : theory/text/performance. Ann Arbor: University of Michigan Press, 1994.

[78]
M. Ravenhill and D. Rebellato, Shopping and fucking, Student ed. London: Methuen, 2005.

[79]
M. Ravenhill and D. Rebellato, ‘Shopping and Fucking’, in Shopping and fucking, Student ed., London: Methuen, 2005 [Online]. Available: http://www.dramaonlinelibrary.com/plays/shopping-and-fucking-iid-11765

[80]
C. Svich, ‘“Commerce and Morality in the Theatre of Mark Ravenhill”’, Contemporary Theatre Review, vol. 13, no. 1, pp. 81–95, Feb. 2003, doi: 10.1080/1048680031000077799.

[81]
M. Ravenhill and M. Ravenhill, Product. London: Methuen Drama, 2006.

[82]
M. Ravenhill, ‘Product’, in Plays 2, London: Methuen Drama, 2008 [Online]. Available: http://www.dramaonlinelibrary.com/plays/product-iid-15040

[83]
M. Ravenhill and M. Ravenhill, The cut. London: Methuen Drama, 2006.

[84]
M. Ravenhill, ‘The Cut’, in Plays 2, London: Methuen Drama, 2008 [Online]. Available: http://www.dramaonlinelibrary.com/plays/the-cut-iid-15041

[85]
M. Aragay, British theatre of the 1990s: interviews with directors, playwrights, critics, and academics. Basingstoke: Palgrave Macmillan, 2007.

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

[87]
P. Billingham, At the sharp end: uncovering the work of five contemporary dramatists. London: Methuen Drama, 2007.

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

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

[90]
K. Dorney, The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan, 2009.

[91]
J. Fisher, To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726

[92]
J. Fisher, To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. Jefferson, N.C.: McFarland & Co, 2011.

[93]
A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

[94]
A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008.

[95]
M. Middeke, P. P. Schnierer, and A. Sierz, The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, 2011 [Online]. Available: http://lib.myilibrary.com?id=604121

[96]
M. Middeke, P. P. Schnierer, and A. Sierz, The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, 2011.

[97]
Andrea Peghinelli, ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals’, Status Quaestionis, vol. 1, no. 2, 2012 [Online]. Available: http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956

[98]
A. Sierz, In-Yer-Face Theatre: British Drama Today. London: Faber and Faber, 2001.

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

[100]
A. Sierz, Rewriting the Nation: British Theatre Today. London: Methuen Drama, 2011.

[101]
A. Sierz, ‘“Mark Ravenhill” 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, 2012, pp. 163–188.

[102]
C. Wallace, Suspect cultures: narrative, identity & citation in 1990s new drama. Prague: Litteraria Pragensia, 2006.

[103]
S. Stephens, Three Kingdoms. London: Methuen Drama, 2012.

[104]
S. Stephens, ‘Three Kingdoms’, in Three kingdoms, London: Methuen Drama, 2012 [Online]. Available: http://www.dramaonlinelibrary.com/plays/three-kingdoms-iid-133884

[105]
D. Rebellato and M. Ravenhill, Theatre & Globalization, vol. Theatre&. Basingstoke: Palgrave Macmillan, 2009.

[106]
M. Buffini, Welcome to Thebes. London: Faber and Faber, 2010.

[107]
M. Buffini, ‘Welcome to Thebes’, in Welcome to Thebes, London: Faber and Faber, 2010 [Online]. Available: http://www.dramaonlinelibrary.com/plays/welcome-to-thebes-iid-113680

[108]
C. Churchill, Far away. London: Nick Hern, 2000.

[109]
C. Churchill, ‘Far Away’, in Far away, London: Nick Hern, 2000 [Online]. Available: http://www.dramaonlinelibrary.com/plays/far-away-iid-151987

[110]
D. Greig, San Diego, vol. StageScripts. London: Faber and Faber, 2003.

[111]
D. Greig, ‘San Diego’, in Selected Plays 1999-2009, Faber and Faber, 2010 [Online]. Available: http://www.dramaonlinelibrary.com/plays/san-diego-iid-19622

[112]
V. Angelaki, ‘“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, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 135–151.

[113]
V. Angelaki, ‘“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, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 135–151 [Online]. Available: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

[114]
P. Billingham, At the sharp end: uncovering the work of five contemporary dramatists. London: Methuen Drama, 2007.

[115]
J. Bolton, ‘“Simon Stephens” 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, 2012, pp. 101–124.

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

[117]
G. Eatough and D. Rebellato, The Suspect Culture Book. London: Oberon Books, 2013.

[118]
D. Edgar, Playwrights on playwriting, vol. State of play. Faber, 1999.

[119]
‘Doing a Geographical’, Contemporary Theatre Review, vol. 16, no. 1, pp. 144–164, Feb. 2006, doi: 10.1080/10486800600671502.

[120]
D. Greig, ‘"Rough Theatre’" IN Cool Britannia?: British political drama in the 1990s’, in Cool Britannia?: British political drama in the 1990s, Basingstoke: Palgrave Macmillan, 2007, pp. 208–221.

[121]
N. Holdsworth, ‘“David Greig” IN Modern British playwriting: voices, documents, new interpretations, 2000-2009’, in Modern British playwriting: voices, documents, new interpretations, 2000-2009, vol. Decades, D. Rebellato, Ed. London: Bloomsbury, 2013, pp. 169–189.

[122]
N. Holdsworth, ‘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, Malden, MA: Blackwell, 2008, pp. 125–145.

[123]
N. Holdsworth, ‘“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, Malden, MA: Blackwell, 2008, pp. 125–145 [Online]. Available: http://lib.myilibrary.com/Open.aspx?id=106920

[124]
N. Holdsworth, ‘Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre’, Contemporary Theatre Review, vol. 13, no. 2, pp. 25–39, May 2003, doi: 10.1080/920087167.

[125]
C. Innes, ‘“Simon Stephens” IN The Methuen drama guide to contemporary British playwrights’, in The Methuen drama guide to contemporary British playwrights, London: Methuen Drama, 2011, pp. 445–465 [Online]. Available: http://lib.myilibrary.com?id=604121

[126]
C. Innes, ‘Simon Stephens’, in The Methuen Drama Guide to Contemporary British Playwrights, London: Methuen Drama, 2011, pp. 445–465.

[127]
D. Lane, Contemporary British Drama, vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press, 2010.

[128]
D. Lane, Contemporary British drama, vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press, 2010 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981

[129]
M. Middeke, P. P. Schnierer, and A. Sierz, The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, 2011 [Online]. Available: http://lib.myilibrary.com?id=604121

[130]
M. Middeke, P. P. Schnierer, and A. Sierz, The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, 2011.

[131]
C. Wallace and A. Muller, Cosmotopia: transnational identities in David Greig’s theatre. Prague: Litteraria, 2011.

[132]
L. D. Nielsen and P. A. Ybarra, Neoliberalism and global theatres: performance permutations, vol. Studies in international performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

[133]
L. D. Nielsen and P. A. Ybarra, Neoliberalism and Global Theatres: Performance Permutations, vol. Studies in international performance. Basingstoke: Palgrave Macmillan, 2012 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590

[134]
D. Rebellato, ‘“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, vol. 13, no. 1, pp. 61–80, Feb. 2003, doi: 10.1080/1048680031000077825.

[135]
D. Greig, N. Holdsworth, D. Rebellato, N. Ridout, and C. Svich, ‘New Theatre Writing: Simon Stephens’’, Contemporary Theatre Review, vol. 15, no. 1, pp. 156–187, Feb. 2005, doi: 10.1080/1048680052000342557.

[136]
T. Reid, ‘“Post-Devolutionary Drama” IN The Edinburgh companion to Scottish drama’, in The Edinburgh companion to Scottish drama, vol. Edinburgh companions to Scottish literature, Edinburgh: Edinburgh University Press, 2011, pp. 188–199 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670

[137]
T. Reid, ‘“Post-Devolutionary Drama” IN The Edinburgh companion to Scottish drama’, in The Edinburgh companion to Scottish drama, vol. Edinburgh companions to Scottish literature, Edinburgh: Edinburgh University Press, 2011, pp. 188–199 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409327080002671&institutionId=2671&customerId=2670

[138]
J. Reinelt, ‘David Greig’, in The Methuen Drama Guide to Contemporary British Playwrights, London: Methuen Drama, 2011, pp. 203–222 [Online]. Available: http://lib.myilibrary.com?id=604121

[139]
J. Reinelt, ‘“David Greig” IN The Methuen Drama guide to contemporary British playwrights’, in The Methuen Drama guide to contemporary British playwrights, London: Methuen Drama, 2011, pp. 203–222.

[140]
C. Wallace, Suspect cultures: narrative, identity & citation in 1990s new drama. Prague: Litteraria Pragensia, 2006.

[141]
C. Wallace, The theatre of David Greig, vol. Critical companions. London: Bloomsbury, 2013.

[142]
I. Wright, ‘“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: Manchester University Press, 2003, pp. 157–167.

[143]
A. Lustgarten, If you don’t let us dream, we won’t let you sleep. London: Bloomsbury Methuen Drama, 2013.

[144]
A. Lustgarten, ‘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, 2013 [Online]. Available: http://www.dramaonlinelibrary.com/plays/if-you-dont-let-us-dream-we-wont-let-you-sleep-iid-131990

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

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

[147]
L. Kirkwood, Chimerica, Revised edition. London: Nick Hern Books, 2013.

[148]
L. Kirkwood, ‘Chimerica’, in Chimerica, Revised edition., London: Nick Hern Books, 2013 [Online]. Available: http://www.dramaonlinelibrary.com/plays/chimerica-iid-134974

[149]
T. Price, ‘The Radicalisation of Bradley Manning’, in The Radicalisation of Bradley Manning, Bloomsbury Publishing, 2012 [Online]. Available: http://www.dramaonlinelibrary.com/plays/the-radicalisation-of-bradley-manning-iid-138811

[150]
S. Waters, ‘Temple’, in Temple, vol. NHB modern plays, London: Nick Hearn Books, 2015 [Online]. Available: http://www.dramaonlinelibrary.com/plays/temple-iid-159234

[151]
S. H. Adiseshiah and L. LePage, Eds., Twenty-first century drama: what happens now. London: Palgrave Macmillan, 2016.

[152]
V. Angelaki, Ed., Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan, 2013.

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V. Angelaki, Contemporary British Theatre: Breaking New Ground. [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430

[154]
J. Boll, The New War plays: from Kane to Harris. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013.

[155]
S. Brady, Performance, politics, and the War on Terror: ‘whatever it takes’, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2012.

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

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

[158]
C. Schlote, ‘“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, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 173–189.

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C. Schlote, ‘“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, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 173–189 [Online]. Available: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

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

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[162]
P. Stenham, Mothers and daughters, Mothers and sons, and Royal Court Theatre, That face, Rev. ed. London: Faber, 2008.

[163]
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[164]
Andrea Peghinelli, ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals [open access]’, Status Quaestionis, vol. 1, no. 2, 2012 [Online]. Available: http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956

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

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D. Eldridge, ‘Market Boy’, in Plays 2, vol. Methuen Drama contemporary dramatists, London: Methuen Drama, 2012 [Online]. Available: http://www.dramaonlinelibrary.com/plays/market-boy-iid-127655

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C. Jones, Humble boy, vol. FF plays. London: Faber and Faber, 2001.

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V. Angelaki, ‘“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, V. Angelaki, Ed. pp. 57–78 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131

[170]
V. Angelaki, ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in Contemporary British Theatre: Breaking New Ground, V. Angelaki, Ed. Basingstoke: Palgrave Macmillan, 2013, pp. 57–78.

[171]
H. Devine, Looking Back: Playwrights at the Royal Court, 1956-2006. London: Faber and Faber, 2006.

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A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

[173]
A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008.

[174]
D. Lane, Contemporary British Drama, vol. Edinburgh critical guides to literature. Edinburgh: Edinburgh University Press, 2010.

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

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

[178]
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[179]
A. Sierz, Rewriting the nation: British theatre today. London: Methuen Drama, 2011.

[180]
B. Agbaje, ‘Detaining Justice’, in Not black and white, London: Methuen Drama, 2009 [Online]. Available: http://www.dramaonlinelibrary.com/plays/detaining-justice-iid-15779

[181]
L. Goddard, ‘“Chapter One: Beyond Identity Politics: Black British Playwrights on the Mainstream” IN Contemporary Black British playwrights: margins to mainstream’, in Contemporary Black British playwrights: margins to mainstream, New York: Palgrave Macmillan, 2015, pp. 3–17.

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

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debbie tucker green, ‘random’, in random, Nick Hern Books, 2008 [Online]. Available: http://www.dramaonlinelibrary.com/plays/random-iid-139303

[184]
K. Kwei-Armah, Elmina’s kitchen, vol. Methuen modern plays. London: Methuen, 2003.

[185]
K. Kwei-Armah, ‘Elmina’s Kitchen’, in Plays :1, vol. Contemporary dramatists, London: Methuen Drama, 2009 [Online]. Available: http://www.dramaonlinelibrary.com/plays/elminas-kitchen-iid-162472

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A. Lustgarten, ‘A Day At The Racists’, in A Day at the Racists, Bloomsbury Publishing, 2010 [Online]. Available: http://www.dramaonlinelibrary.com/plays/a-day-at-the-racists-iid-135250

[187]
R. Williams, Fallout. London: Methuen, 2003.

[188]
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[189]
M. Aragay and E. Monforte, ‘Racial Violence, Witnessing and Emancipated Spectatorship in the Colour of Justice, Fallout and Random’, in Contemporary British theatre: breaking new ground, 2013, pp. 297–313 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131

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

[191]
E. Barry and W. Boles, ‘Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams’, in Alternatives Within the Mainstream: British Black and Asian Theatres, Buckinghamshire: Cambridge Scholars Press, 2006, pp. 297–313.

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

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

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Harry Derbyshire, ‘Roy Williams: Representing Multicultural Britain in Fallout’, Modern Drama, vol. 50, no. 3, pp. 414–434, 2007, doi: 10.1353/mdr.2007.0054. [Online]. Available: https://muse.jhu.edu/article/223442

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

[196]
K. Dorney, The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan, 2009 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475

[197]
K. Dorney, The Changing Language of Modern English Drama 1945-2005. Basingstoke: Palgrave Macmillan, 2009.

[198]
L. Goddard, Contemporary Black British playwrights: margins to mainstream. New York: Palgrave Macmillan, 2015.

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L. Goddard, Staging black feminisms: identity, politics, performances, vol. Performance interventions. New York: Palgrave Macmillan, 2007.

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A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

[202]
A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008.

[203]
M. Middeke, P. P. Schnierer, and A. Sierz, The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama, 2011 [Online]. Available: http://lib.myilibrary.com?id=604121

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

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

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

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

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

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

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

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M. Pearce, ‘Roy Williams’, in Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, vol. Decades, D. Rebellato, Ed. London: Bloomsbury, 2013, pp. 145–168.

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P. Rae, Theatre & Human Rights, vol. Theatre&. Basingstoke: Palgrave Macmillan, 2009.

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J. G. Reinelt, ‘Selective Affinities: British Playwrights at Work’, Modern Drama, vol. 50, no. 3, pp. 305–345, 2007, doi: 10.1353/mdr.2007.0060.

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

[215]
A. Sierz, Rewriting the nation: British theatre today. London: Methuen Drama, 2011.

[216]
R. Williams, ‘Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?’, New Theatre Quarterly, vol. 22, no. 02, May 2006, doi: 10.1017/S0266464X06000352.

[217]
H. Young, Theatre & race. Basingstoke, Hampshire: Palgrave Macmillan, 2013.

[218]
T. Wertenbaker, ‘After Darwin’, in Plays two, vol. Contemporary classics, London: Faber, 2002.

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Timberlake WertenbakerTimberlake Wertenbaker, ‘After Darwin’, doi: 10.5040/9780571293223.99000005. [Online]. Available: http://www.dramaonlinelibrary.com/plays/after-darwin-iid-173322

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M. Berninger, ‘A Crucible of Two Cultures: Timberlake Wertenbaker’s After Darwin and Science in Recent British Theatre’, Gramma: Journal of Theory and Criticism, vol. 10. pp. 107–120, 2002 [Online]. Available: http://www.enl.auth.gr/gramma/gramma02/Berninger.pdf

[221]
N. Dear and M. W. Shelley, Frankenstein. London: Faber and Faber, 2011.

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N. Payne, Constellations. London: Faber, 2012.

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

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

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‘Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts’, Modern Drama, vol. 45, no. 4, 2002, doi: 10.1353/mdr.2002.0042.

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Sara Freeman, ‘Tragedy After Darwin: Timberlake Wertenbaker Remakes “Modern” Tragedy’, Comparative Drama, vol. 44, no. 2, pp. 201–227, 2010 [Online]. Available: http://www.jstor.org/stable/23038112

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

[233]
M. Roth, ‘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., vol. Dramaturgies, Bruxelles: P.I.E. Peter Lang, 2008, pp. 155–176.

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M. Roth and S. Freeman, International dramaturgy: translation & transformations in the theatre of Timberlake Wertenbaker, Scientific international ed., vol. Dramaturgies. Bruxelles: P.I.E. Peter Lang, 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), vol. 6, no. 1, pp. 119–137 [Online]. Available: http://www.jstor.org/stable/41274077?seq=1#page_scan_tab_contents

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

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K. Shepherd-Barr, ‘Darwin on Stage: Evolutionary Theory in the Theatre’, Interdisciplinary Science Reviews, vol. 33, no. 2, pp. 107–115, 2008 [Online]. Available: http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf

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

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

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[241]
M. Bartlett, 13. London: Methuen Drama, 2011.

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C. Megson, ‘"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, S. H. Adiseshiah and L. LePage, Eds. London: Palgrave Macmillan, 2016, pp. 37–57.

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H. Brenton, ‘Paul’, in Paul, London: Nick Hern, 2005 [Online]. Available: http://www.dramaonlinelibrary.com/plays/paul-iid-141249

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H. Brenton, Paul. London: Nick Hern, 2005.

[247]
D. Hare, Racing demon. London: Faber, 1990.

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D. Hare, Racing Demon. Faber and Faber, 2001 [Online]. Available: http://www.dramaonlinelibrary.com/plays/racing-demon-iid-19583

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S. Waters, Temple, vol. NHB modern plays. London: Nick Hearn Books, 2015.

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S. Waters, Temple, vol. NHB modern plays. London: Nick Hearn Books, 2015.

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

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R. Boon, Ed., The Cambridge Companion to David Hare, vol. Cambridge Companions to Literature. Cambridge: Cambridge University Press, 2007 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544

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[254]
J. Edelman, C. Chambers, and S. Du Toit, Eds., Performing religion in public. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013.

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[256]
L. Gharavi, Religion, theatre, and performance: acts of faith, vol. Routledge advances in theatre&performing studies. New York: Routledge, 2012.

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J. Habermas, ‘Notes on a post-secular society’. [Online]. Available: http://www.signandsight.com/features/1714.html

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

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D. Hare, Obedience, Struggle and Revolt. Faber and Faber.

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

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

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A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008.

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C. Megson, ‘"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, V. Angelaki, Ed. pp. 32–56 [Online]. Available: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131

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C. Megson, ‘‘"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, V. Angelaki, Ed. Basingstoke: Palgrave Macmillan, 2013, pp. 32–56 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670

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

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M. Ravenhill, ‘God is behind some of our greatest art’. [Online]. Available: https://www.theguardian.com/stage/theatreblog/2008/apr/14/godisbehindsomeofourgrea

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

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

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D. Wiles, Theatre & time, vol. Theatre and. Basingstoke: Palgrave Macmillan, 2014.

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

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

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

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

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debbie tucker green, ‘nut’, in Nut, London: Nick Hern Books, 2013 [Online]. Available: http://www.dramaonlinelibrary.com/plays/nut-iid-139257

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

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K. Tempest, Wasted. London: Bloomsbury Methuen Drama, 2014.

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K. Tempest, Wasted. London: Bloomsbury Methuen Drama, 2014.

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V. Angelaki, ‘“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, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 135–151 [Online]. Available: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

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V. Angelaki, ‘“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, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 135–151.

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Gary Cassidy, ‘Psychological Liminality in Anthony Neilson’s The Wonderful World of Dissocia.’, International Journal of Scottish Theatre and Screen, vol. 6, no. 1, pp. 54–81, 2013 [Online]. Available: http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/165/pdf_3

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

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

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D. Pattie, Modern British playwriting: voices, documents, new interpretations, The 1950s, vol. Decades. London: Methuen Drama, 2012.

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

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V. Angelaki, Ed., Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan, 2013.

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V. Angelaki, Contemporary British Theatre: Breaking New Ground. [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430

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

[307]
V. Angelaki, ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’, in Contemporary British Theatre: Breaking New Ground, V. Angelaki, Ed. Basingstoke: Palgrave Macmillan, 2013, pp. 57–78.

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

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V. Angelaki, ‘“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, M. Aragay and E. Monforte, Eds. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 135–151.

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E. Angel-Perez, ‘“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, V. Angelaki, Ed. Basingstoke: Palgrave Macmillan, 2013, pp. 79–95 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670

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

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M. Aragay and E. Monforte, ‘"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, V. Angelaki, Ed. Basingstoke: Palgrave Macmillan, 2013, pp. 96–120 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670

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

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

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

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

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

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

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H. Iball, Sarah Kane’s Blasted, vol. Continuum modern theatre guides. London: Continuum, 2008 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787

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H. Iball, Sarah Kane’s Blasted, vol. Continuum modern theatre guides. London: Continuum, 2008.

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A. H. Kritzer, Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005, vol. Performance interventions. Basingstoke: Palgrave Macmillan, 2008.

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H.-T. Lehmann, Postdramatic Theatre. London: Routledge, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406

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

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

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

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

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