Abrams, Joshua. ‘State of the Nation: New British Theatre’. PAJ: A Journal of Performance and Art, vol. 32, no. 2, 2010, pp. 8–16, https://doi.org/10.1162/pajj.2010.32.2.8.
———. ‘State of the Nation: New British Theatre’. PAJ: A Journal of Performance and Art, vol. 32, no. 2, May 2010, pp. 8–16, https://doi.org/10.1162/pajj.2010.32.2.8.
‘Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts’. Modern Drama, vol. 45, no. 4, 2002, https://doi.org/10.1353/mdr.2002.0042.
‘Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts’. Modern Drama, vol. 45, no. 4, 2002, https://doi.org/10.1353/mdr.2002.0042.
Adiseshiah, Sian. Twenty-First Century Drama: What Happens Now. Edited by Louise LePage, Palgrave Macmillan, 2016, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4719834. Electronic resource.
Adiseshiah, Sian Helen, and Louise LePage, editors. Twenty-First Century Drama: What Happens Now. Palgrave Macmillan, 2016.
Adiseshiah, Sian Helen, and Louise LePage, editors. Twenty-First Century Drama: What Happens Now. Palgrave Macmillan, 2016.
Adiseshiah, Sin Helen. Churchill’s Socialism: Political Resistance in the Plays of Caryl Churchill. Cambridge Scholars, 2009.
Agbaje, Bola. ‘Detaining Justice’. Not Black and White, Methuen Drama, 2009, https://doi.org/10.5040/9781408167175.00000050.
Andrea Peghinelli. ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals’. Status Quaestionis, vol. 1, no. 2, 2012, http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9955.
———. ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals’. Status Quaestionis, vol. 1, no. 2, 2012, http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956.
———. ‘Polly Stenham and Mark Ravenhill: Astonishing Debuts and Court Scandals [Open Access]’. Status Quaestionis, vol. 1, no. 2, 2012, http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956.
Angelaki, Vicky, editor. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan, 2013.
Angelaki, Vicky, editor. Contemporary British Theatre: Breaking New Ground. Palgrave Macmillan, 2013.
Angelaki, Vicky. Contemporary British Theatre: Breaking New Ground. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430. Electronic book.
———. Contemporary British Theatre: Breaking New Ground. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431430. Electronic book.
———. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 57–78.
———. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 57–78.
———. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 57–78.
———. ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 57–78, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137010131.
———. ‘“Politics for the Middle Classes: Contemporary Audiences and the Violence of Now” IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, pp. 57–78, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131. Electronic book.
———. Social and Political Theatre in 21st-Century Britain: Staging Crisis. Bloomsbury Academic, 2017, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781474213196. Electronic resource.
———. The Plays of Martin Crimp: Making Theatre Strange. Palgrave Macmillan, 2012.
———. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 135–51.
———. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 135–51.
———. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 135–51.
———. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 135–51, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
———. ‘“Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 135–51, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
Angel-Perez, Elisabeth. ‘“Language Games and Literary Constraints: Playing with Tragedy in the Theatre of Caryl Churchill and Martin Crimp” IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 79–95, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670.
———. ‘“Language Games and Literary Constraints: Playing with Tragedy in the Theatre of Caryl Churchill and Martin Crimp” IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, pp. 79–95, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131. Electronic book.
Annabelle Singer. ‘Don’t Want to Be This: The Elusive Sarah Kane’. TDR (1988-), vol. 48, no. 2, 2004, pp. 139–71, https://www.jstor.org/stable/4488558?seq=1#page_scan_tab_contents.
———. ‘Don’t Want to Be This: The Elusive Sarah Kane’. TDR (1988-), vol. 48, no. 2, 2004, pp. 139–71, http://www.jstor.org/stable/4488558.
Aragay, Mireia. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics, and Academics. Palgrave Macmillan, 2007.
———. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics, and Academics. Palgrave Macmillan, 2007.
———. British Theatre of the 1990s: Interviews With Directors, Playwrights, Critics and Academics. Palgrave Macmillan, 2007, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=339164. Electronic book.
———. British Theatre of the 1990s: Interviews With Directors, Playwrights, Critics and Academics. Palgrave Macmillan, 2007, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=339164. Electronic book.
Aragay, Mireia, and Enric Monforte, editors. Ethical Speculations in Contemporary British Theatre. Palgrave Macmillan, 2014, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13401091540002671&institutionId=2671&customerId=2670.
Aragay, Mireia, and Enric Monforte. ‘Racial Violence, Witnessing and Emancipated Spectatorship in the Colour of Justice, Fallout and Random’. Contemporary British Theatre: Breaking New Ground, 2013, pp. 96–120, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131. Electronic book.
———. ‘Racial Violence, Witnessing and Emancipated Spectatorship in the Colour of Justice, Fallout and Random’. Contemporary British Theatre: Breaking New Ground, 2013, pp. 297–313, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131. Electronic book.
———. ‘Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and Random’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 297–313.
———. ‘"Racial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice, Fallout and Random’" IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 96–120, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670.
Aston, Elaine. Caryl Churchill. Northcote, 2010, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780746312513. Electronic book.
———. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge University Press, 2003.
———. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge University Press, 2003, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13400858210002671&institutionId=2671&customerId=2670.
———. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge University Press, 2003, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=16040. Electronic book.
———. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge University Press, 2003, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=16040. Electronic book.
———. ‘Reviewing the Fabric of Blasted’. Sarah Kane in Context, Manchester University Press, 2011, pp. 13–27.
———. ‘“Reviewing the Fabric of Blasted” IN Sarah Kane in Context’. Sarah Kane in Context, Manchester University Press, 2011, pp. 13–27.
Aston, Elaine and British Council. Caryl Churchill. 2nd ed, Writers and their work, Northcote House in association with the British Council, 2001.
Aston, Elaine, and Elin Diamond. The Cambridge Companion to Caryl Churchill. Cambridge University Press, 2009.
Aston, Elaine, and Janelle Reinelt. The Cambridge Companion to Modern British Women Playwrights. Cambridge University Press, 2000.
Barker, Howard. Arguments for a Theatre. 2nd ed, Manchester University Press, 1993.
Barnett, David. ‘When Is a Play Not a Drama? Two Examples of Postdramatic Theatre Texts’. New Theatre Quarterly, vol. 24, no. 01, Feb. 2008, https://doi.org/10.1017/S0266464X0800002X.
Barry, Elizabeth, and Williams Boles. ‘Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams’. Alternatives Within the Mainstream: British Black and Asian Theatres, Cambridge Scholars Press, 2006, pp. 297–313.
———. ‘Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams’. Alternatives Within the Mainstream: British Black and Asian Theatres, Cambridge Scholars Press, 2006, pp. 297–313.
———. ‘“Beyond Victimhood: Agency and Identity in the Theatre of Roy Williams” IN Alternatives within the Mainstream: British Black and Asian Theatres’. Alternatives within the Mainstream: British Black and Asian Theatres, Cambridge Scholars Press, 2006, pp. 297–313, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781443802864.
Bartlett, Mike. ‘13’. 13, Methuen Drama, 2011, https://doi.org/10.5040/9781408175187.00000003.
———. 13. Methuen Drama, 2011.
Berninger, Mark. ‘A Crucible of Two Cultures: Timberlake Wertenbaker’s After Darwin and Science in Recent British Theatre’. Gramma: Journal of Theory and Criticism, vol. 10, 2002, pp. 107–20, http://www.enl.auth.gr/gramma/gramma02/Berninger.pdf.
———. ‘A Crucible of Two Cultures: Timberlake Wertenbaker’s After Darwin and Science in Recent British Theatre’. Gramma: Journal of Theory and Criticism, vol. 10, 2002, pp. 107–20, http://www.enl.auth.gr/gramma/gramma02/Berninger.pdf.
Billingham, Peter. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. Methuen Drama, 2007.
———. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. Methuen Drama, 2007.
———. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. Methuen Drama, 2007.
———. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. Methuen Drama, 2007.
Billington, Michael. State of the Nation: British Theatre since 1945. Faber and Faber, 2007.
Birringer, Johannes. Theatre, Theory, Postmodernism. Indiana University Press, 1991.
Boireau, Nicole. Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage. Macmillan, 1997.
Boll, Julia. The New War Plays: From Kane to Harris. Palgrave Macmillan, 2013.
———. The New War Plays: From Kane to Harris. Palgrave Macmillan, 2013.
Bolton, Jacqueline. ‘Simon Stephens’. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, Decades, Bloomsbury, 2010, pp. 101–24.
———. ‘“Simon Stephens” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades, Methuen Drama, 2012, pp. 101–24.
Boon, Richard. About Hare: The Playwright and the Work. Faber, 2006.
———. About Hare: The Playwright and the Work. Faber, 2006.
———. About Hare: The Playwright and the Work. Faber, 2006.
Boon, Richard, editor. The Cambridge Companion to David Hare. Cambridge Companions to Literature, Cambridge University Press, 2007, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544. Electronic book.
Boon, Richard, editor. The Cambridge Companion to David Hare. Cambridge Companions to Literature, Cambridge University Press, 2007, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544. Electronic book.
Boon, Richard, editor. The Cambridge Companion to David Hare. Cambridge Companions to Literature, Cambridge University Press, 2007, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544. Electronic book.
———. The Cambridge Companion to David Hare. Cambridge University Press, 2007.
———. The Cambridge Companion to David Hare. Cambridge University Press, 2007.
———. The Cambridge Companion to David Hare. Cambridge University Press, 2007.
Brady, Sara. Performance, Politics, and the War on Terror: ‘Whatever It Takes’. Palgrave Macmillan, 2012.
———. Performance, Politics, and the War on Terror: ‘Whatever It Takes’. Palgrave Macmillan, 2012.
Brenton, Howard. Paul. Nick Hern, 2005.
———. ‘Paul’. Paul, Nick Hern, 2005, https://doi.org/10.5040/9781784600082.00000002.
Brown, Ian. The Edinburgh Companion to Scottish Drama. Edinburgh University Press, 2011.
Buffini, Moira. Welcome to Thebes. Faber and Faber, 2010.
———. ‘Welcome to Thebes’. Welcome to Thebes, Faber and Faber, 2010, https://doi.org/10.5040/9780571289974.00000006.
Bush, Sophie. The Theatre of Timberlake Wertenbaker. Bloomsbury, 2013.
———. The Theatre of Timberlake Wertenbaker. Bloomsbury, 2013.
Cambridge Companions Complete Collection. The Cambridge Companion to Caryl Churchill. Edited by Elaine Aston and Elin Diamond, Cambridge Companions to Literature, Cambridge University Press, 2009, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521493222. Electronic book.
———. The Cambridge Companion to Harold Pinter. Edited by Peter Raby, Cambridge Companions to Literature, Cambridge University Press, 2009, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093. Electronic book.
———. The Cambridge Companion to Harold Pinter. Edited by Peter Raby, Cambridge Companions to Literature, Cambridge University Press, 2009, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093. Electronic book.
———. The Cambridge Companion to Modern British Women Playwrights. Edited by Elaine Aston and Janelle Reinelt, Cambridge Companions to Literature, Cambridge University Press, 2000, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521594226. Electronic book.
Capancioni, Claudia, and Sibylle 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, 2012, pp. 133–46.
———. ‘‘"Have You No Compassion?”: Danny Boyle’s and Nick Dear’s Re-Examination of Monstrosity in Frankenstein’’. Textus: English Studies in Italy, vol. 3, 2012, pp. 133–46.
Cave, Richard Allen. New British Drama in Performance on the London Stage, 1970 to 1985. Colin Smythe, 1989.
Chambers, Colin. Black and Asian Theatre in Britain: A History. Routledge, 2011.
———. Black and Asian Theatre in Britain: A History. Routledge, 2011.
———. Inside the Royal Shakespeare Company: Creativity and the Institution. Routledge, 2004.
———. The Continuum Companion to Twentieth Century Theatre. Continuum, 2002.
Chambers, Colin, and Vera Gottlieb. Theatre in a Cool Climate. Amber Lane, 1999.
Christopher Wixson. ‘“In Better Places”: Space, Identity, and Alienation in Sarah Kane’s “Blasted”’. Comparative Drama, vol. 39, no. 1, 2005, pp. 75–91, http://www.jstor.org/stable/41154260.
———. ‘“In Better Places”: Space, Identity, and Alienation in Sarah Kane’s “Blasted”’. Comparative Drama, vol. 39, no. 1, 2005, pp. 75–91, http://www.jstor.org/stable/41154260?seq=1#page_scan_tab_contents.
Churchill, Caryl. ‘Far Away’. Far Away, Nick Hern, 2000, https://doi.org/10.5040/9781784602420.00000003.
———. Far Away. Nick Hern, 2000.
———. Serious Money. Methuen, 2002.
———. Serious Money. Methuen, 2002, https://doi.org/10.5040/9781408169520.00000121.
Clements, Rachel. ‘Deconstructive Techniques and Spectral Technologies in Katie Mitchell’s’. Contemporary Theatre Review, vol. 24, no. 3, July 2014, pp. 331–41, https://doi.org/10.1080/10486801.2014.921051.
Cousin, Geraldine. Churchill: The Playwright. Methuen, 1989.
Dan Rebellato Blog. http://www.danrebellato.co.uk/links/.
de Vos, Laurens, and Graham Saunders. Sarah Kane in Context. Manchester University Press, 2011.
Dear, Nick, and Mary Wollstonecraft Shelley. Frankenstein. Faber and Faber, 2011.
———. ‘Frankenstein’. Frankenstein, Faber and Faber, 2011, https://doi.org/10.5040/9780571294060.00000006.
Derbyshire, Harry. ‘Roy Williams: Representing Multicultural Britain in Fallout’. Modern Drama, vol. 50, no. 3, 2007, pp. 414–34, https://doi.org/10.1353/mdr.2007.0054.
Devine, Harriet. Looking Back: Playwrights at the Royal Court, 1956-2006. Faber and Faber, 2006.
———. Looking Back: Playwrights at the Royal Court, 1956-2006. Faber and Faber, 2006.
———. Looking Back: Playwrights at the Royal Court, 1956-2006. Faber and Faber, 2006.
———. Looking Back: Playwrights at the Royal Court, 1956-2006. Faber and Faber, 2006.
———. Looking Back: Playwrights at the Royal Court, 1956-2006. Faber and Faber, 2006.
(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.
D’Monté, Rebecca, and Graham Saunders. Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan, 2007.
———. Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan, 2007.
———. Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan, 2007.
‘Doing a Geographical’. Contemporary Theatre Review, vol. 16, no. 1, Feb. 2006, pp. 144–64, https://doi.org/10.1080/10486800600671502.
‘Doing a Geographical’. Contemporary Theatre Review, vol. 16, no. 1, Feb. 2006, pp. 144–64, https://doi.org/10.1080/10486800600671502.
Dorney, Kate. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009.
———. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009.
———. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009.
———. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009.
———. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475. Electronic book.
———. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475. Electronic book.
———. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475. Electronic book.
———. The Changing Language of Modern English Drama 1945-2005. Palgrave Macmillan, 2009, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=555475. Electronic book.
Dromgoole, Dominic. The Full Room: An A-Z of Contemporary Playwriting. Methuen, 2000.
Duggan, Patrick. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester University Press, 2012.
———. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester University Press, 2012.
———. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester University Press, 2012.
———. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester University Press, 2012.
Eatough, Graham, and Dan Rebellato. The Suspect Culture Book. Oberon Books, 2013.
———. The Suspect Culture Book. Oberon Books, 2013.
Edelman, Joshua. Performing Religion in Public. Edited by Claire Chambers and Simon Du Toit, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1514274. Electronic book.
———. Performing Religion in Public. Edited by Claire Chambers and Simon Du Toit, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1514274. Electronic book.
Edelman, Joshua, et al., editors. Performing Religion in Public. Palgrave Macmillan, 2013.
Edelman, Joshua, et al., editors. Performing Religion in Public. Palgrave Macmillan, 2013.
Edgar, David. Playwrights on Playwriting. Faber, 1999.
———. Playwrights on Playwriting. Faber, 1999.
Eldridge, David. Market Boy. Methuen Drama, 2006.
———. ‘Market Boy’. Plays 2, Methuen Drama contemporary dramatists, Methuen Drama, 2012, https://doi.org/10.5040/9781408174982.00000005.
Eyre, Richard, and Nicholas Wright. Changing Stages: A View of British Theatre in the Twentieth Century. Bloomsbury, 2000.
Fisher, James. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co, 2011.
———. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co, 2011.
———. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co, 2011.
———. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co, 2011, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726. Electronic book.
———. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co, 2011, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726. Electronic book.
———. To Have or Have Not: Essays on Commerce and Capital in Modernist Theatre. McFarland & Co, 2011, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=793726. Electronic book.
Forsyth, Alison, and Chris Megson. Get Real: Documentary Theatre Past and Present. Palgrave Macmillan, 2009, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309. Electronic book.
———. Get Real: Documentary Theatre Past and Present. Palgrave Macmillan, 2009, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309. Electronic book.
———. Get Real: Documentary Theatre Past and Present. Palgrave Macmillan, 2009, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=485309. Electronic book.
Forsyth, Alison, and Christopher Megson. Get Real: Documentary Theatre Past and Present. [New ed.], Performance interventions, Palgrave Macmillan, 2011.
———. Get Real: Documentary Theatre Past and Present. [New ed.], Performance interventions, Palgrave Macmillan, 2011.
———. Get Real: Documentary Theatre Past and Present. [New ed.], Performance interventions, Palgrave Macmillan, 2011.
Fuchs, Elinor. The Death of Character: Perspectives on Theater after Modernism. Indiana University Press, 1996.
Gary Cassidy. ‘Psychological Liminality in Anthony Neilson’s The Wonderful World of Dissocia.’ International Journal of Scottish Theatre and Screen, vol. 6, no. 1, 2013, pp. 54–81, http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/165/pdf_3.
———. ‘Psychological Liminality in Anthony Neilson’s The Wonderful World of Dissocia.’ International Journal of Scottish Theatre and Screen, vol. 6, no. 1, 2013, pp. 54–81, http://journals.qmu.ac.uk/index.php/IJOSTS/article/view/165/pdf_3.
Gharavi, Lance. Religion, Theatre, and Performance: Acts of Faith. Routledge, 2012.
———. Religion, Theatre, and Performance: Acts of Faith. Routledge, 2012.
God Is behind Some of Our Greatest Art. https://www.theguardian.com/stage/theatreblog/2008/apr/14/godisbehindsomeofourgrea.
Goddard, Lynette. ‘“Chapter One: Beyond Identity Politics: Black British Playwrights on the Mainstream” IN Contemporary Black British Playwrights: Margins to Mainstream’. Contemporary Black British Playwrights: Margins to Mainstream, Palgrave Macmillan, 2015, pp. 3–17.
———. Contemporary Black British Playwrights: Margins to Mainstream. Palgrave Macmillan, 2015.
———. Contemporary Black British Playwrights: Margins to Mainstream. Palgrave Macmillan, 2015.
———. Staging Black Feminisms: Identity, Politics, Performances. Palgrave Macmillan, 2007.
———. Staging Black Feminisms: Identity, Politics, Performances. Palgrave Macmillan, 2007.
———. Staging Black Feminisms: Identity, Politics, Performances. Palgrave Macmillan, 2007, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=85740. Electronic book.
———. Staging Black Feminisms: Identity, Politics, Performances. Palgrave Macmillan, 2007, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=85740. Electronic book.
Godiwala, Dimple. Alternatives within the Mainstream: British Black and Asian Theatres. Cambridge Scholars Press, 2006.
Green, Debbie Tucker. Nut. Nick Hern Books, 2013.
———. Random. Nick Hern, 2008.
green, debbie tucker. ‘Nut’. Nut, Nick Hern Books, 2013, https://doi.org/10.5040/9781784601270.00000002.
———. ‘Random’. Random, 1st ed, Bloomsbury, 2015, https://doi.org/10.5040/9781784601256.00000002.
Greig, David, et al. ‘New Theatre Writing: Simon Stephens’’. Contemporary Theatre Review, vol. 15, no. 1, Feb. 2005, pp. 156–87, https://doi.org/10.1080/1048680052000342557.
———. ‘New Theatre Writing: Simon Stephens’’. Contemporary Theatre Review, vol. 15, no. 1, Feb. 2005, pp. 156–87, https://doi.org/10.1080/1048680052000342557.
———. ‘"Rough Theatre’" IN Cool Britannia?: British Political Drama in the 1990s’. Cool Britannia?: British Political Drama in the 1990s, Palgrave Macmillan, 2007, pp. 208–21.
———. ‘“Rough Theatre” IN Cool Britannia? British Political Drama in the 1990s’. Cool Britannia?: British Political Drama in the 1990s, Palgrave Macmillan, 2007, pp. 208–21.
———. San Diego. Faber and Faber, 2003.
———. ‘San Diego’. Selected Plays 1999-2009, Faber and Faber, 2010, https://doi.org/10.5040/9780571286447.00000007.
Griffin, Gabriele. Contemporary Black and Asian Women Playwrights in Britain. Cambridge University Press, 2003, http://dx.doi.org/10.1017/CBO9780511486036.
Griffin, Gabriele and American Council of Learned Societies. Contemporary Black and Asian Women Playwrights in Britain. Cambridge University Press, 2003, http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07607. Electronic book.
Griffiths, Trevor R., and Margaret Llewellyn-Jones. British and Irish Women Dramatists since 1958: A Critical Handbook. Open University Press, 1993.
Habermas, Jurgen. Notes on a Post-Secular Society. http://www.signandsight.com/features/1714.html.
———. Notes on a Post-Secular Society. http://www.signandsight.com/features/1714.html.
Hare, David. Obedience, Struggle & Revolt: Lectures on Theatre. Faber, 2007.
———. Obedience, Struggle and Revolt. Faber and Faber.
———. Obedience, Struggle and Revolt. Faber and Faber.
———. Racing Demon. Faber, 1990.
———. Racing Demon. Rev. ed, Faber, 1991.
———. The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. Faber and Faber, 2009.
———. The Power of Yes: A Dramatist Seeks to Understand the Financial Crisis. Faber and Faber, 2009, https://doi.org/10.5040/9780571286461.10000005.
———. Writing Left-Handed. Faber and Faber, 1991.
———. Writing Left-Handed. Faber and Faber, 1991.
———. Writing Left-Handed. Faber and Faber, 1991.
———. Writing Left-Handed. Faber and Faber, 1991.
Hare, David, and Lyn Haill. Asking around: Background to the David Hare Trilogy. Faber and Faber, 1993.
———. Asking around: Background to the David Hare Trilogy. Faber and Faber, 1993.
Harpin, Anna, and Juliet L. H. Foster, editors. Performance, Madness and Psychiatry: Isolated Acts. Palgrave Macmillan, 2014.
Harpin, Anna, and Juliet L. H. Foster, editors. Performance, Madness and Psychiatry: Isolated Acts. Palgrave Macmillan, 2014.
Harry Derbyshire. ‘Roy Williams: Representing Multicultural Britain in Fallout’. Modern Drama, vol. 50, no. 3, 2007, pp. 414–34, https://doi.org/10.1353/mdr.2007.0054.
Harvie, Jen. Staging the UK. Manchester University Press, 2005.
Hingorani, Dominic. British Asian Theatre: Dramaturgy, Process and Performance. Palgrave Macmillan, 2010.
Holdsworth, Nadine. ‘“David Greig” IN Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009’. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades, Bloomsbury, 2013, pp. 169–89.
———. ‘“David Greig” IN Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009’. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades, Bloomsbury, 2013, pp. 169–89.
———. ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’. A Concise Companion to Contemporary British and Irish Drama, Blackwell, 2007, pp. 125–45, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920. Electronic book.
———. ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’. A Concise Companion to Contemporary British and Irish Drama, Blackwell concise companions to literature and culture, Blackwell, 2008, pp. 125–45.
———. ‘“The Landscape of Contemporary Scottish Identity: Place, Politics and Identity” IN A Concise Companion to Contemporary British and Irish Drama’. A Concise Companion to Contemporary British and Irish Drama, Blackwell concise companions to literature and culture, Blackwell, 2008, pp. 125–45, http://lib.myilibrary.com/Open.aspx?id=106920.
———. ‘Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre’. Contemporary Theatre Review, vol. 13, no. 2, May 2003, pp. 25–39, https://doi.org/10.1080/920087167.
———. ‘Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre’. Contemporary Theatre Review, vol. 13, no. 2, May 2003, pp. 25–39, https://doi.org/10.1080/920087167.
Holdsworth, Nadine, and Mary Luckhurst. A Concise Companion to Contemporary British and Irish Drama. Blackwell, 2007, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920. Electronic book.
Homden, Carol. The Plays of David Hare. Cambridge University Press, 1995.
———. The Plays of David Hare. Cambridge University Press, 1995.
———. The Plays of David Hare. Cambridge University Press, 1995, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CBO9780511627668. Electronic book.
———. The Plays of David Hare. Cambridge University Press, 1995, http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CBO9780511627668. Electronic book.
Iball, Helen. Sarah Kane’s Blasted. Continuum, 2008.
———. Sarah Kane’s Blasted. Continuum, 2008.
———. Sarah Kane’s Blasted. Continuum, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787. Electronic book.
———. Sarah Kane’s Blasted. Continuum, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787. Electronic book.
Innes, Christopher. Modern British Drama: The Twentieth Century. Cambridge University Press, 2002.
———. ‘Simon Stephens’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 445–65.
———. ‘“Simon Stephens” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 445–65.
———. ‘“Simon Stephens” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 445–65, http://lib.myilibrary.com?id=604121. Electronic resource.
———. ‘“Simon Stephens” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 445–65, http://lib.myilibrary.com?id=604121. Electronic resource.
Jones, Charlotte. ‘Humble Boy’. Charlotte Jones Plays 1: Airswimming; Humble Boy; In Flame; Martha, Josie and the Chinese Elvis, Bloomsbury, 2013, https://doi.org/10.5040/9780571289509.00000069.
———. Humble Boy. Faber and Faber, 2001.
Jürs-Munby, Karen, et al., editors. Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance. Methuen Drama engage, Bloomsbury, 2013.
Kane, Sarah, and Ken Urban. Blasted. Methuen Drama, 2011.
Kelleher, Joe. Theatre & Politics. Palgrave Macmillan, 2009.
King, Mike. Postsecularism: The Hidden Challenge to Extremism. James Clarke, 2009.
———. Postsecularism: The Hidden Challenge to Extremism. James Clarke, 2009.
Kirkwood, Lucy. ‘Chimerica’. Chimerica, Revised edition, Nick Hern Books, 2013, https://doi.org/10.5040/9781784600266.00090006.
———. Chimerica. Revised edition, Nick Hern Books, 2013.
Kritzer, Amelia Howe. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863. Electronic book.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863. Electronic book.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863. Electronic book.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863. Electronic book.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863. Electronic book.
———. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005. Palgrave Macmillan, 2008, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863. Electronic book.
———. The Plays of Caryl Churchill: Theatre of Empowerment. Macmillan, 1990.
Kustow, Michael. Theatre@risk. Methuen, 2000.
Kwei-Armah, Kwame. Elmina’s Kitchen. Methuen, 2003.
———. ‘Elmina’s Kitchen’. Plays :1, Contemporary dramatists, Methuen Drama, 2009, https://doi.org/10.5040/9781350025882.00000012.
Lane, David. Contemporary British Drama. Edinburgh University Press, 2010.
———. Contemporary British Drama. Edinburgh University Press, 2010.
———. Contemporary British Drama. Edinburgh University Press, 2010.
———. Contemporary British Drama. Edinburgh University Press, 2010.
———. Contemporary British Drama. Edinburgh University Press, 2010, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981. Electronic book.
———. Contemporary British Drama. Edinburgh University Press, 2010, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981. Electronic book.
———. Contemporary British Drama. Edinburgh University Press, 2010, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981. Electronic book.
———. Contemporary British Drama. Edinburgh University Press, 2010, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981. Electronic book.
Lehmann, Hans-Thies. Postdramatic Theatre. Routledge, 2006.
———. Postdramatic Theatre. Routledge, 2006.
———. Postdramatic Theatre. Routledge, 2006, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406. Electronic book.
———. Postdramatic Theatre. Routledge, 2006, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406. Electronic book.
Little, Ruth, and Emily McLaughlin. The Royal Court Theatre inside Out. Oberon Books, 2007.
Luckhurst, Mary. A Companion to Modern British and Irish Drama, 1880-2005. Blackwell, 2006, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=350880. Electronic book.
———. A Companion to Modern British and Irish Drama, 1880-2005. Pbk. ed, Blackwell companions to literature and culture, Wiley-Blackwell, 2010.
———. ‘Infamy and Dying Young: Sarah Kane, 1971-1999’. Theatre and Celebrity in Britain, 1660-2000, Palgrave Macmillan, 2005, pp. 107–26.
———. ‘Infamy and Dying Young: Sarah Kane, 1971-1999’. Theatre and Celebrity in Britain, 1660-2000, Palgrave Macmillan, 2005, pp. 107–26.
———. ‘Infamy and Dying Young: Sarah Kane, 1971-1999’. Theatre and Celebrity in Britain, 1660-2000, Palgrave Macmillan, 2005, pp. 107–26, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780230523845.
———. ‘Political Point-Scoring: Martin Crimp’s Attempts on Her Life’. Contemporary Theatre Review, vol. 13, no. 1, Feb. 2003, pp. 47–60, https://doi.org/10.1080/1048680032000086468.
———. ‘Sarah Kane: From Terror to Trauma’. A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture, Wiley-Blackwell, 2010, pp. 371–82, http://ezproxy01.rhul.ac.uk/login?url=https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780470751473.
Lustgarten, Anders. ‘A Day At The Racists’. A Day at the Racists, 1st ed, Bloomsbury, 2014, https://doi.org/10.5040/9781408184608.00000002.
———. If You Don’t Let Us Dream, We Won’t Let You Sleep. Bloomsbury Methuen Drama, 2013.
———. ‘If You Don’t Let Us Dream, We Won’t Let You Sleep’. If You Don’t Let Us Dream, We Won’t Let You Sleep, Bloomsbury Methuen Drama, 2013, https://doi.org/10.5040/9781472506733.00000006.
Marsh, Nicky. ‘Desire and Disease in the Speculative Economy: A Critique of the Language of Crisis’. Journal of Cultural Economy, vol. 4, no. 3, Aug. 2011, pp. 301–14, https://doi.org/10.1080/17530350.2011.586851.
———. ‘Desire and Disease in the Speculative Economy: A Critique of the Language of Crisis’. Journal of Cultural Economy, vol. 4, no. 3, Aug. 2011, pp. 301–14, https://doi.org/10.1080/17530350.2011.586851.
McConachie, Bruce A. Theatre & Mind. Palgrave Macmillan, 2013.
———. Theatre & Mind. Palgrave Macmillan, 2013.
McDowell, Linda. ‘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, 2011, pp. 193–205, http://www.jstor.org/stable/23020812.
———. ‘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, 2011, pp. 193–205, http://www.jstor.org/stable/23020812.
Megson, Chris. ‘‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination’ IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 32–56, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8935623130002671&institutionId=2671&customerId=2670.
———. ‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination" IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, Palgrave Macmillan, 2013, pp. 32–56, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=8984141830002671&institutionId=2671&customerId=2670.
———. ‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination’ IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, pp. 32–56, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131. Electronic book.
———. ‘"And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination" IN Contemporary British Theatre: Breaking New Ground’. Contemporary British Theatre: Breaking New Ground, edited by Vicky Angelaki, pp. 32–56, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137010131. Electronic book.
———. ‘Beyond Belief: British Theatre and the “Re-Enchantment of the World”’. Twenty-First Century Drama: What Happens Now, Palgrave Macmillan, 2016, pp. 37–57, http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031. Electronic resource.
———. ‘Beyond Belief: British Theatre and the “Re-Enchantment of the World”’. Twenty-First Century Drama: What Happens Now, Palgrave Macmillan, 2016, pp. 37–57, http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031. Electronic resource.
———. ‘"Beyond Belief: British Theatre and the “Re-Enchantment of the World” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 37–57.
———. ‘"Beyond Belief: British Theatre and the “Re-Enchantment of the World” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 37–57.
Megson, Christopher. Modern British Playwriting: Voices, Documents, New Interpretations, The 1970s. Methuen Drama, 2012.
Middeke, Martin, et al. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011, http://lib.myilibrary.com?id=604121. Electronic resource.
———. ‘The Undecidable and the Event: Ethics of Unrest in Martin Crimp’s Attempts on Her Life and Debbie Tucker Green’s Truth and Reconciliation’. Ethical Speculations in Contemporary British Theatre, 2014, pp. 96–113, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137297570. Electronic book.
———. ‘“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’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 96–113, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9002485320002671&institutionId=2671&customerId=2670.
Milling, Jane. Modern British Playwriting: Voices, Documents, New Interpretations, The 1980s. Methuen Drama, 2012.
———. Modern British Playwriting: Voices, Documents, New Interpretations, the 1980s. Methuen Drama, 2012, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1080374. Electronic book.
Neilson, Anthony. ‘Penetrator’. Plays 1, Methuen contemporary dramatists, Methuen, 1998.
———. ‘Penetrator’. Plays 1, Methuen contemporary dramatists, Methuen, 1998, https://doi.org/10.5040/9781408175088.00000041.
———. The Wonderful World of Dissocia. Methuen Drama, 2007.
———. The Wonderful World of Dissocia. Methuen Drama, 2007.
Nevitt, Lucy. Theatre & Violence. Palgrave Macmillan, 2013.
———. Theatre & Violence. Palgrave Macmillan, 2013.
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. 119–37, http://www.jstor.org/stable/41274077?seq=1#page_scan_tab_contents.
Nicholson, Steve. Modern British Playwriting: Voices, Documents, New Interpretations, the 1960s. Methuen Drama, 2012.
———. Modern British Playwriting: Voices, Documents, New Interpretations, the 1960s. Methuen Drama, 2012, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1080373. Electronic book.
Nick Ruddick. ‘The Search for a Quantum Ethics: Michael Frayn’s “Copenhagen” and Other Recent British Science Plays’. Journal of the Fantastic in the Arts, vol. 11, no. 4, 2001, pp. 415–31, http://www.jstor.org/stable/43308478.
Nield, Sophie. ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’. The Grammar of Politics and Performance, Interventions, Routledge, 2015, pp. 121–33, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871. Electronic resource.
———. ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’. The Grammar of Politics and Performance, Interventions, Routledge, 2015, pp. 121–33, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871. Electronic resource.
———. ‘Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order’. The Grammar of Politics and Performance, edited by Shirin Rai and Janelle G. Reinelt, Routledge, 2016, pp. 121–33.
Nielsen, Lara D., and Patricia A. Ybarra. Neoliberalism and Global Theatres: Performance Permutations. Palgrave Macmillan, 2012.
———. Neoliberalism and Global Theatres: Performance Permutations. Palgrave Macmillan, 2012.
———. Neoliberalism and Global Theatres: Performance Permutations. Palgrave Macmillan, 2012, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590. Electronic book.
———. Neoliberalism and Global Theatres: Performance Permutations. Palgrave Macmillan, 2012, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590. Electronic book.
Obedience, Struggle and Revolt. Faber and Faber, https://doi.org/10.5040/9780571284870.
Obedience, Struggle and Revolt. Faber and Faber, http://www.dramaonlinelibrary.com/context-and-criticism/obedience-struggle-and-revolt-iid-19027.
Osborne, Diedre. ‘“Roy Williams” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 487–509, http://lib.myilibrary.com?id=604121. Electronic resource.
Osborne, Dierdre. ‘Roy Williams’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 487–509.
———. ‘“Roy Williams” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 487–509.
———. ‘“Roy Williams” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 487–509, http://lib.myilibrary.com?id=604121. Electronic resource.
O’Thomas, Mark. ‘Translating Austerity: Theatrical Responses to the Financial Crisis’. Twenty-First Century Drama: What Happens Now, edited by Siân Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 129–48.
———. ‘Translating Austerity: Theatrical Responses to the Financial Crisis’. Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 129–48, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137484031.
———. ‘“Translating Austerity: Theatrical Responses to the Financial Crisis” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Si�n Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 129–48.
Owen, Louise. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 107–27.
———. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 107–27.
———. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 107–27, http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031. Electronic resource.
———. ‘“Gendering the Economy in Twenty-First Century Drama” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 107–27, http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031. Electronic resource.
Patterson, Michael. Strategies of Political Theatre: Post-War British Playwrights. Cambridge University Press, 2003.
Patterson, Michael and American Council of Learned Societies. Strategies of Political Theatre. Cambridge University Press, 2003, http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07610. Electronic book.
Pattie, David. Modern British Playwriting: Voices, Documents, New Interpretations, The 1950s. Methuen Drama, 2012.
———. Modern British Playwriting: Voices, Documents, New Interpretations, the 1950s. Methuen Drama, 2012, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1085187. Electronic book.
Payne, Nick. ‘Constellations’. Constellations, Faber, 2012, https://doi.org/10.5040/9780571313655.00000006.
———. Constellations. Faber, 2012.
Peacock, D. Thatcher’s Theatre: British Theatre and Drama in the Eighties. Greenwood Press, 1999, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=495161. Electronic book.
Peacock, D. Keith. Thatcher’s Theatre: British Theatre and Drama in the Eighties. Greenwood, 1999.
Peacock, Keith. ‘Black British Drama and the Politics of Identity’. A Concise Companion to Contemporary British and Irish Drama, Blackwell, 2007, pp. 48–65, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920. Electronic book.
———. ‘“Black British Drama and the Politics of Identity” IN A Concise Companion to Contemporary British and Irish Drama’. A Concise Companion to Contemporary British and Irish Drama, Blackwell, 2007, pp. 48–65. Electronic book.
———. ‘“Black British Drama and the Politics of Identity” IN A Concise Companion to Contemporary British and Irish Drama’. A Concise Companion to Contemporary British and Irish Drama, Blackwell, 2007, pp. 48–65, http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=106920. Electronic book.
———. ‘The Question of Multiculturalism: The Plays of Roy Williams’. A Companion to Modern British and Irish Drama, 1880-2005, Blackwell companions to literature and culture, Blackwell, 2006, pp. 530–40, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780470751473. Electronic book.
———. ‘The Question of Multiculturalism: The Plays of Roy Williams’. A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture, Wiley-Blackwell, 2010, pp. 530–40.
———. ‘The Question of Multiculturalism: The Plays of Roy Williams’. A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture, Wiley-Blackwell, 2010, pp. 530–40, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780470751473.
———. ‘“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, Wiley-Blackwell, 2010, pp. 530–40.
Pearce, Michael. ‘“Roy Williams” IN Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009’. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades, Bloomsbury, 2013, pp. 145–68.
Pearce, Micheal. ‘Roy Williams’. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009, edited by Dan Rebellato, Decades, Bloomsbury, 2013, pp. 145–68.
Penhall, Joe. Blue/Orange. Methuen, 2000.
Pinter, Harold. ‘The New World Order’. Harold Pinter: Plays 4, Faber and Faber, 2012, https://doi.org/10.5040/9780571291793.00000064.
———. ‘The New World Order’. Party Time ; And, the New World Order: Two Plays, Grove Press, 1993.
Playwright’s Podcast - Royal Court. https://royalcourttheatre.com/podcasts/.
Prebble, Lucy. Enron. Methuen Drama, 2009.
———. Enron. Methuen Drama, 2009, http://www.dramaonlinelibrary.com/plays/enron-iid-128921.
———. The Effect. Bloomsbury Methuen Drama, 2013.
———. ‘The Effect’. The Effect, Bloomsbury Methuen Drama, 2013, https://doi.org/10.5040/9781408185094.00000006.
Price, Tim. ‘The Radicalisation of Bradley Manning’. Radicalisation of Bradley Manning, 1st ed, v.11, Methuen Drama, 2012, https://doi.org/10.5040/9781408172902.00000002.
Rabey, David Ian. English Drama since 1940. Longman, 2003.
Rabillard, Sheila Mary. Essays on Caryl Churchill: Contemporary Representations. Blizzard Pub, 1998.
Raby, Peter. The Cambridge Companion to Harold Pinter. 2nd ed, Cambridge companions to literature, Cambridge University Press, 2009.
———. The Cambridge Companion to Harold Pinter. 2nd ed, Cambridge companions to literature, Cambridge University Press, 2009.
Rae, Paul. Theatre & Human Rights. Palgrave Macmillan, 2009.
———. Theatre & Human Rights. Palgrave Macmillan, 2009.
Rai, Shirin. The Grammar of Politics and Performance. Edited by Janelle G. Reinelt, Interventions, Routledge, 2015, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871. Electronic resource.
Randall, Phyllis R. Caryl Churchill: A Casebook. Garland, 1989.
Ravenhill, Mark. God Is behind Some of Our Greatest Art. https://www.theguardian.com/stage/theatreblog/2008/apr/14/godisbehindsomeofourgrea.
———. ‘Product’. Plays 2, Methuen Drama, 2008, https://doi.org/10.5040/9781408167670.00000037.
———. ‘The Cut’. Plays 2, Methuen Drama, 2008, https://doi.org/10.5040/9781408167670.00000041.
Ravenhill, Mark, and Mark Ravenhill. Product. Methuen Drama, 2006.
———. The Cut. Methuen Drama, 2006.
Ravenhill, Mark, and Dan Rebellato. ‘Shopping and Fucking’. Shopping and Fucking, Student ed, Methuen, 2005, https://doi.org/10.5040/9781408168509.00000026.
———. Shopping and Fucking. Student ed, Methuen, 2005.
Rebellato, Dan. ‘“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, Feb. 2003, pp. 61–80, https://doi.org/10.1080/1048680031000077825.
———. ‘“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, Feb. 2003, pp. 61–80, https://doi.org/10.1080/1048680031000077825.
Rebellato, Dan, editor. Modern British Playwriting: Voices, Documents, New Interpretations, 2000-2009. Decades, Bloomsbury, 2013.
Rebellato, Dan, and Mark Ravenhill. Theatre & Globalization. Palgrave Macmillan, 2009.
———. Theatre & Globalization. Palgrave Macmillan, 2009.
Rees, Catherine. ‘“Anthony Neilson” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades, Methuen Drama, 2012, pp. 137–63.
———. ‘Sarah Kane’. Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, Decades, Methuen Drama, 2012, pp. 112–37.
———. ‘“Sarah Kane” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades, Methuen Drama, 2012, pp. 112–37, https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1748076.
Reid, Trish. ‘“Post-Devolutionary Drama” IN The Edinburgh Companion to Scottish Drama’. The Edinburgh Companion to Scottish Drama, Edinburgh companions to Scottish literature, Edinburgh University Press, 2011, pp. 188–99, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409327080002671&institutionId=2671&customerId=2670.
———. ‘“Post-Devolutionary Drama” IN The Edinburgh Companion to Scottish Drama’. The Edinburgh Companion to Scottish Drama, Edinburgh companions to Scottish literature, Edinburgh University Press, 2011, pp. 188–99, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670.
———. ‘“Post-Devolutionary Drama” IN The Edinburgh Companion to Scottish Drama’. The Edinburgh Companion to Scottish Drama, Edinburgh companions to Scottish literature, Edinburgh University Press, 2011, pp. 188–99, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670.
———. ‘“Sexy Kilts with Attitude Scottish Theatre in the Twenty-First Century” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Helen Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 191–211.
———. ‘“Sexy Kilts with Attitude Scottish Theatre in the Twenty-First Century” IN Twenty-First Century Drama: What Happens Now’. Twenty-First Century Drama: What Happens Now, edited by Sian Adiseshiah and Louise LePage, Palgrave Macmillan, 2016, pp. 191–211, http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137484031. Electronic resource.
Reinelt, Janelle. After Brecht: British Epic Theater. University of Michigan Press, 1994.
———. After Brecht: British Epic Theater. University of Michigan Press, 1994.
———. ‘David Greig’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 203–22, http://lib.myilibrary.com?id=604121. Electronic resource.
———. ‘“David Greig” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 203–22.
———. ‘“David Greig” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 203–22, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9264764140002671&institutionId=2671&customerId=2670.
———. ‘“David Greig” IN The Methuen Drama Guide to Contemporary British Playwrights’. The Methuen Drama Guide to Contemporary British Playwrights, Methuen Drama, 2011, pp. 203–22, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409282230002671&institutionId=2671&customerId=2670. Electronic resource.
Reinelt, Janelle G. ‘Selective Affinities: British Playwrights at Work’. Modern Drama, vol. 50, no. 3, 2007, pp. 305–45, https://doi.org/10.1353/mdr.2007.0060.
———. ‘Selective Affinities: British Playwrights at Work’. Modern Drama, vol. 50, no. 3, 2007, pp. 305–45, https://doi.org/10.1353/mdr.2007.0060.
Ridley, Philip. Mercury Fur. Methuen Drama, 2005.
———. Mercury Fur. Methuen Drama, 2005, https://doi.org/10.5040/9781408182826.00000002.
Roberts, Philip. About Churchill: The Playwright and the Work. Faber and Faber, 2008.
———. The Royal Court Theatre and the Modern Stage. Cambridge University Press, 1999, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13401176580002671&institutionId=2671&customerId=2670.
Roberts, Philip and American Council of Learned Societies. The Royal Court Theatre and the Modern Stage. Cambridge University Press, 1999, http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.07570. Electronic book.
Roth, Maya. ‘Engaging Cultural Translations: Timberlake Wertenbaker’s History Plays from New Anatomies to After Darwin’. International Dramaturgy: Translation & Transformations in the Theatre of Timberlake Wertenbaker, Scientific international ed, Dramaturgies, P.I.E. Peter Lang, 2008, pp. 155–76.
———. ‘“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’. International Dramaturgy: Translation & Transformations in the Theatre of Timberlake Wertenbaker, Scientific international ed, Dramaturgies, P.I.E. Peter Lang, 2008, pp. 155–76.
Roth, Maya, and Sara Freeman. International Dramaturgy: Translation & Transformations in the Theatre of Timberlake Wertenbaker. Scientific international ed, Dramaturgies, P.I.E. Peter Lang, 2008.
———. International Dramaturgy: Translation & Transformations in the Theatre of Timberlake Wertenbaker. Scientific international ed, Dramaturgies, P.I.E. Peter Lang, 2008.
Sakellaridou, Elizabeth. ‘Cruel or Tender? Protocols of Atrocity, New and Old’. Contemporary Theatre Review, vol. 24, no. 3, July 2014, pp. 363–72, https://doi.org/10.1080/10486801.2014.921055.
Sara Freeman. ‘Tragedy After Darwin: Timberlake Wertenbaker Remakes “Modern” Tragedy’. Comparative Drama, vol. 44, no. 2, 2010, pp. 201–27, http://www.jstor.org/stable/23038112.
———. ‘Tragedy After Darwin: Timberlake Wertenbaker Remakes “Modern” Tragedy’. Comparative Drama, vol. 44, no. 2, 2010, pp. 201–27, http://www.jstor.org/stable/23038112.
Saunders, Graham. ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes. Manchester University Press, 2002.
———. ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes. Manchester University Press, 2002.
———. ‘“Mark Ravenhill” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades, Methuen Drama, 2012, pp. 163–88.
Saunders, Graham, and Sarah Kane. About Kane: The Playwright and the Work. Faber, 2009.
———. About Kane: The Playwright and the Work. Faber, 2009.
Schlote, Christiane. ‘“From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 173–89.
———. ‘“From Front Page to Front Stage: War Correspondents and Media Ethics in British Theatre” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 173–89, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
Shank, Theodore. Contemporary British Theatre. Macmillan, 1994.
Shellard, Dominic. British Theatre since the War. Yale University Press, 1999.
Shepherd, Simon. The Cambridge Introduction to Modern British Theatre. Cambridge University Press, 2009.
Shepherd-Barr, Kirsten. ‘Copenhagen and Beyond: The "Rich and Mentally Nourishing” Interplay of Science and Theatre’. Gramma: Journal of Theory and Criticism, vol. 10, 2002, pp. 171–82, http://www.enl.auth.gr/gramma/gramma02/Barr.pdf.
———. ‘Copenhagen and Beyond: The "Rich and Mentally Nourishing” Interplay of Science and Theatre’. Gramma: Journal of Theory and Criticism, vol. 10, 2002, pp. 171–82, http://www.enl.auth.gr/gramma/gramma02/Barr.pdf.
———. ‘Darwin on Stage: Evolutionary Theory in the Theatre’. Interdisciplinary Science Reviews, vol. 33, no. 2, 2008, pp. 107–15, http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf.
———. ‘Darwin on Stage: Evolutionary Theory in the Theatre’. Interdisciplinary Science Reviews, vol. 33, no. 2, 2008, pp. 107–15, http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf.
———. Science on Stage: From Doctor Faustus to Copenhagen. Princeton University Press, 2006.
———. Science on Stage: From Doctor Faustus to Copenhagen. Princeton University Press, 2006.
Sierz, Aleks. ‘“Anthony Neilson” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades, Methuen Drama, 2012.
———. In-Yer-Face Theatre: British Drama Today. Faber and Faber, 2001.
———. In-Yer-Face Theatre: British Drama Today. Faber and Faber, 2001.
———. In-Yer-Face Theatre: British Drama Today. Faber and Faber, 2001.
———. In-Yer-Face Theatre: British Drama Today. Faber and Faber, 2001.
———. ‘“Mark Ravenhill” IN Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s’. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s, Decades, Methuen Drama, 2012, pp. 163–88.
———. Modern British Playwriting: Voices, Documents, New Interpretations, The 1990s. Methuen Drama, 2012.
———. ‘Philip Ridley’. Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, Decades, Methuen Drama, 2012, pp. 112–37.
———. ‘Philip Ridley’e’. Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s, Decades, Methuen Drama, 2012, pp. 88–111.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011, http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=347867. Electronic book.
———. The Theatre of Martin Crimp. Methuen Drama, 2006.
Sierz, Aleks, and Martin Crimp. The Theatre of Martin Crimp. Methuen Drama, 2006, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781408147290. Electronic book.
Sinfield, Alan. Out on Stage: Lesbian and Gay Theatre in the Twentieth Century. Yale University Press, 1999.
Soto-Morettini, Donna. ‘Trouble in the House: David Hare’s’. Contemporary Theatre Review, vol. 15, no. 3, Aug. 2005, pp. 309–19, https://doi.org/10.1080/10267160500217640.
Stenham, Polly, et al. That Face. Rev. ed, Faber, 2008.
———. ‘That Face’. That Face, Faber and Faber, 2007, https://doi.org/10.5040/9780571285471.00000005.
Stephens, Simon. Punk Rock. Methuen Drama, 2009, https://doi.org/10.5040/9781408167250.00000004.
———. Three Kingdoms. Methuen Drama, 2012.
———. ‘Three Kingdoms’. Three Kingdoms, Methuen Drama, 2012, https://doi.org/10.5040/9781408172988.00000005.
Stephenson, Heidi, and Natasha Langridge. Rage and Reason: Women Playwrights on Playwriting. Methuen, 1997.
———. Rage and Reason: Women Playwrights on Playwriting. Methuen, 1997.
Stern, Tom. Philosophy and Theatre: An Introduction. Routledge, 2014.
Svich, Caridad. ‘“Commerce and Morality in the Theatre of Mark Ravenhill”’. Contemporary Theatre Review, vol. 13, no. 1, Feb. 2003, pp. 81–95, https://doi.org/10.1080/1048680031000077799.
———. ‘“Commerce and Morality in the Theatre of Mark Ravenhill”’. Contemporary Theatre Review, vol. 13, no. 1, Feb. 2003, pp. 81–95, https://doi.org/10.1080/1048680031000077799.
———. Trans-Global Readings: Crossing Theatrical Boundaries. Manchester University Press, 2003.
———. Trans-Global Readings: Crossing Theatrical Boundaries. Manchester University Press, 2003.
Taylor-Batty, Mark. ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990’. Ethical Speculations in Contemporary British Theatre, 2014, pp. 59–75, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137297570. Electronic book.
———. ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 59–75.
———. ‘How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 59–75, https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570.
———. ‘“How to Mourn: Kane, Pinter and Theatre as a Monument to Loss in the 1990s” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 59–75, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9264924710002671&institutionId=2671&customerId=2670.
———. The Theatre of Harold Pinter. Bloomsbury Publishing, 2014.
———. The Theatre of Harold Pinter. Bloomsbury Publishing, 2014.
Tempest, Kate. Wasted. Bloomsbury Methuen Drama, 2014.
———. Wasted. Bloomsbury Methuen Drama, 2014.
Theatre Voice. http://www.theatrevoice.com/.
‘This Is All Theatre”: Iraq Centrestage’. Contemporary Theatre Review, vol. 15, no. 3, Aug. 2005, pp. 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’. Performing the Secular: Religion, Representation, and Politics, Contemporary performance interActions, Palgrave Macmillan, 2017.
‘“Thisworldly Wonderment: Contemporary British Theatre and Postsecularism” IN Performing the Secular: Representation, Religion and the Public Sphere’. Performing the Secular: Religion, Representation, and Politics, Contemporary performance interActions, Palgrave Macmillan, 2017.
Timberlake WertenbakerTimberlake Wertenbaker. After Darwin. https://doi.org/10.5040/9780571293223.99000005.
Trish Reid. ‘“Deformities of the Frame”: 1 The Theatre of Anthony Neilson’. Contemporary Theatre Review, vol. 17, no. 4, pp. 487–98, http://www.tandfonline.com/doi/abs/10.1080/10486800701605110.
———. ‘“Deformities of the Frame”: 1 The Theatre of Anthony Neilson’. Contemporary Theatre Review, vol. 17, no. 4, pp. 487–98, http://www.tandfonline.com/doi/abs/10.1080/10486800701605110.
Urban, Ken. ‘An Ethics of Catastrophe: The Theatre of Sarah Kane’. PAJ: A Journal of Performance and Art, vol. 23, no. 3, Sept. 2001, https://doi.org/10.2307/3246332.
———. ‘An Ethics of Catastrophe: The Theatre of Sarah Kane’. PAJ: A Journal of Performance and Art, vol. 23, no. 3, Sept. 2001, https://doi.org/10.2307/3246332.
Vos, Laurens de, and Graham Saunders. Sarah Kane in Context. Manchester University Press, 2011.
Waers, Steve. ‘Sarah Kane: From Terror to Trauma’. A Companion to Modern British and Irish Drama, 1880-2005, Pbk. ed, Blackwell companions to literature and culture, Wiley-Blackwell, 2010, pp. 371–82.
Wallace, Clare. ‘Playing with Proximity: Precarious Ethics on Stage in the New Millennium’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, Palgrave Macmillan, 2014, pp. 117–34.
———. ‘“Playing with Proximity: Precarious Ethics on Stage in the New Millennium” IN Ethical Speculations in Contemporary British Theatre’. Ethical Speculations in Contemporary British Theatre, edited by Mireia Aragay and Enric Monforte, pp. 117–34, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409381910002671&institutionId=2671&customerId=2670. Electronic book.
———. Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Litteraria Pragensia, 2006.
———. Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Litteraria Pragensia, 2006.
———. Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Litteraria Pragensia, 2006.
———. Suspect Cultures: Narrative, Identity & Citation in 1990s New Drama. Litteraria Pragensia, 2006.
———. The Theatre of David Greig. Bloomsbury, 2013.
———. The Theatre of David Greig. Bloomsbury, 2013.
Wallace, Clare, and Anja Muller. Cosmotopia: Transnational Identities in David Greig’s Theatre. Litteraria, 2011.
———. Cosmotopia: Transnational Identities in David Greig’s Theatre. Litteraria, 2011.
Wandor, Michelene. Post-War British Drama: Looking Back in Gender. Routledge, 2001.
Waters, Steve. ‘“Sarah Kane: From Terror to Trauma” IN A Companion to Modern British and Irish Drama 1880-2005’. A Companion to Modern British and Irish Drama 1880-2005, Blackwell companions to literature and culture, Blackwell, 2006, pp. 371–82, http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=9252323500002671&institutionId=2671&customerId=2670.
———. ‘“Sarah Kane: From Terror to Trauma” IN A Companion to Modern British and Irish Drama, 1880-2005’. A Companion to Modern British and Irish Drama, 1880-2005, Blackwell companions to literature and culture, Blackwell, 2006, pp. 371–82, http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780470751473. Electronic book.
———. Temple. Nick Hearn Books, 2015.
———. Temple. Nick Hearn Books, 2015.
———. ‘Temple’. Temple, NHB modern plays, Nick Hearn Books, 2015, https://doi.org/10.5040/9781784603151.00000002.
Wertenbaker, Timberlake. ‘After Darwin’. Plays Two, Contemporary classics, Faber, 2002.
Wiles, David. Theatre & Time. Palgrave Macmillan, 2014.
———. Theatre & Time. Palgrave Macmillan, 2014.
Williams, Roy. Fallout. Methuen, 2003.
———. ‘Fallout’. Plays 3, Contemporary dramatists, Methuen Drama, 2008, https://doi.org/10.5040/9781408167724.00000004.
———. ‘Roy Williams, in Conversation with Aleks Sierz What Kind of England Do We Want?’ New Theatre Quarterly, vol. 22, no. 02, May 2006, https://doi.org/10.1017/S0266464X06000352.
———. ‘Roy Williams, in Conversation with Aleks Sierz What Kind of England Do We Want?’ New Theatre Quarterly, vol. 22, no. 02, May 2006, https://doi.org/10.1017/S0266464X06000352.
Wright, Isabel. ‘“Working in Partnership: David Greig in Conversation with Isabel Wrigh” IN Trans-Global Readings: Crossing Theatrical Boundaries’. Trans-Global Readings: Crossing Theatrical Boundaries, Theatre: theory-practice-performance, Manchester University Press, 2003, pp. 157–67.
Wyllie, Andrew. Sex on Stage: Gender and Sexuality in Post-War British Theatre. Intellect, 2009.
Young, Harvey. Theatre & Race. Palgrave Macmillan, 2013.
———. Theatre & Race. Palgrave Macmillan, 2013.
