Bibliography for DT3314: Contemporary British Theatre: Politics & Philosophy

1.
Kane S, Urban K. Blasted. London: Methuen Drama; 2011.

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

3.
Pinter H. The New World Order. Harold Pinter: Plays 4 [Internet]. Faber and Faber; 2012. Available from: http://www.dramaonlinelibrary.com/plays/the-new-world-order-iid-134604

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

5.
Neilson A. Penetrator. Plays 1. London: Methuen; 1998.

6.
Neilson A. Penetrator. Plays 1 [Internet]. London: Methuen; 1998. Available from: http://www.dramaonlinelibrary.com/plays/penetrator-iid-111986

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

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

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

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

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

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

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

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

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

16.
Iball H. Sarah Kane’s Blasted. London: Continuum; 2008.

17.
Iball H. Sarah Kane’s Blasted [Internet]. London: Continuum; 2008. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=601787

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

19.
Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005 [Internet]. Basingstoke: Palgrave Macmillan; 2008. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

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

21.
Lehmann HT. Postdramatic Theatre [Internet]. London: Routledge; 2006. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=274406

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

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

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

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

26.
Nevitt L. Theatre & Violence. Basingstoke: Palgrave Macmillan; 2013.

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

28.
Cambridge Companions Complete Collection. The Cambridge Companion to Harold Pinter [Internet]. Raby P, editor. Cambridge: Cambridge University Press; 2009. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886093

29.
Rees C. Sarah Kane. Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s. London: Methuen Drama; 2012. p. 112–137.

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

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

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

33.
Sierz A. Philip Ridley. Modern British Playwriting: Voices, Documents, New Interpretations, the 1990s. London: Methuen Drama; 2012. p. 112–137.

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

35.
Sierz A. Rewriting the Nation: British Theatre Today [Internet]. London: Methuen Drama; 2011. Available from: 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-) [Internet]. The MIT PressThe MIT Press; 2004;48(2):139–171. Available from: http://www.jstor.org/stable/4488558

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

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

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

40.
Taylor-Batty M. The Theatre of Harold Pinter. London: Bloomsbury Publishing; 2014.

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

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

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

44.
Waers S. Sarah Kane: From Terror to Trauma. A Companion to Modern British and Irish Drama, 1880-2005. Pbk. ed. Chichester: Wiley-Blackwell; 2010. p. 371–382.

45.
Luckhurst M. Sarah Kane: From Terror to Trauma. A Companion to Modern British and Irish Drama, 1880-2005 [Internet]. Pbk. ed. Chichester: Wiley-Blackwell; 2010. p. 371–382. Available from: 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 [Internet]. Comparative DramaComparative Drama; 2005;39(1):75–91. Available from: http://www.jstor.org/stable/41154260

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

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

49.
O’Thomas M. Translating Austerity: Theatrical Responses to the Financial Crisis. In: Adiseshiah SH, LePage L, editors. Twenty-First Century Drama: What Happens Now. London: Palgrave Macmillan; 2016. p. 129–48.

50.
O’Thomas M. Translating Austerity: Theatrical Responses to the Financial Crisis. In: Adiseshiah SH, LePage L, editors. Twenty-First Century Drama: What Happens Now [Internet]. London: Palgrave Macmillan; 2016. p. 129–48. Available from: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137484031

51.
Churchill C. Serious Money. London: Methuen; 2002.

52.
Churchill C. Serious Money [Internet]. London: Methuen; 2002. Available from: http://www.dramaonlinelibrary.com/plays/serious-money-iid-126059

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

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

55.
Abrams J. State of the Nation: New British Theatre. PAJ: A Journal of Performance and Art. 2010;32(2):8–16.

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

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

58.
Boon R, editor. The Cambridge Companion to David Hare [Internet]. Cambridge: Cambridge University Press; 2007. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521850544

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

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

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

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

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

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

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

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

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

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

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

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

71.
Lane D. Contemporary British Drama. Edinburgh: Edinburgh University Press; 2010.

72.
Lane D. Contemporary British Drama [Internet]. Edinburgh: Edinburgh University Press; 2010. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981

73.
McDowell L. Making a Drama Out of a Crisis: Representing Financial Failure, or a Tragedy in Five Acts. Transactions of the Institute of British Geographers [Internet]. WileyThe Royal Geographical Society (with the Institute of British Geographers)The Royal Geographical Society (with the Institute of British Geographers); 2011;36(2):193–205. Available from: http://www.jstor.org/stable/23020812

74.
Marsh N. Desire and Disease in the Speculative Economy: a critique of the language of crisis. Journal of Cultural Economy. 2011 Aug;4(3):301–314.

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

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

77.
Reinelt J. After Brecht: British epic theater. Ann Arbor: University of Michigan Press; 1994.

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

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

80.
Svich C. ‘Commerce and Morality in the Theatre of Mark Ravenhill’. Contemporary Theatre Review. 2003 Feb;13(1):81–95.

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

82.
Ravenhill M. Product. Plays 2 [Internet]. London: Methuen Drama; 2008. Available from: http://www.dramaonlinelibrary.com/plays/product-iid-15040

83.
Ravenhill M, Ravenhill M. The cut. London: Methuen Drama; 2006.

84.
Ravenhill M. The Cut. Plays 2 [Internet]. London: Methuen Drama; 2008. Available from: http://www.dramaonlinelibrary.com/plays/the-cut-iid-15041

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

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

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

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

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

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

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

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

93.
Kritzer AH. Political Theatre in Post-Thatcher Britain: New Writing, 1995-2005 [Internet]. Basingstoke: Palgrave Macmillan; 2008. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=416863

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

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

96.
Middeke M, Schnierer PP, Sierz A. 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 [Internet]. 2012;1(2). Available from: http://statusquaestionis.uniroma1.it/index.php/statusquaestionis/article/view/10062/9956

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

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

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

101.
Sierz A. ‘Mark Ravenhill’ IN Modern British playwriting: voices, documents, new interpretations, The 1990s. Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama; 2012. p. 163–188.

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

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

104.
Stephens S. Three Kingdoms. Three kingdoms [Internet]. London: Methuen Drama; 2012. Available from: http://www.dramaonlinelibrary.com/plays/three-kingdoms-iid-133884

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

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

107.
Buffini M. Welcome to Thebes. Welcome to Thebes [Internet]. London: Faber and Faber; 2010. Available from: http://www.dramaonlinelibrary.com/plays/welcome-to-thebes-iid-113680

108.
Churchill C. Far away. London: Nick Hern; 2000.

109.
Churchill C. Far Away. Far away [Internet]. London: Nick Hern; 2000. Available from: http://www.dramaonlinelibrary.com/plays/far-away-iid-151987

110.
Greig D. San Diego. London: Faber and Faber; 2003.

111.
Greig D. San Diego. Selected Plays 1999-2009 [Internet]. Faber and Faber; 2010. Available from: http://www.dramaonlinelibrary.com/plays/san-diego-iid-19622

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

113.
Angelaki V. ‘Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens’ IN Ethical speculations in contemporary British theatre. In: Aragay M, Monforte E, editors. Ethical speculations in contemporary British theatre [Internet]. Basingstoke, Hampshire: Palgrave Macmillan; 2014. p. 135–151. Available from: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781137297570

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

115.
Bolton J. ‘Simon Stephens’ IN Modern British playwriting: voices, documents, new interpretations, The 1990s. Modern British playwriting: voices, documents, new interpretations, The 1990s. London: Methuen Drama; 2012. p. 101–124.

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

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

118.
Edgar D. Playwrights on playwriting. Faber; 1999.

119.
Doing a Geographical. Contemporary Theatre Review. 2006 Feb;16(1):144–164.

120.
Greig D. "Rough Theatre’" IN Cool Britannia?: British political drama in the 1990s. Cool Britannia?: British political drama in the 1990s. Basingstoke: Palgrave Macmillan; 2007. p. 208–221.

121.
Holdsworth N. ‘David Greig’ IN Modern British playwriting: voices, documents, new interpretations, 2000-2009. In: Rebellato D, editor. Modern British playwriting: voices, documents, new interpretations, 2000-2009. London: Bloomsbury; 2013. p. 169–189.

122.
Holdsworth N. The Landscape of Contemporary Scottish Identity: Place, Politics and Identity. A Concise Companion to Contemporary British and Irish Drama. Malden, MA: Blackwell; 2008. p. 125–145.

123.
Holdsworth N. ‘The Landscape of Contemporary Scottish Identity: Place, Politics and Identity’ IN A concise companion to contemporary British and Irish drama. A concise companion to contemporary British and Irish drama [Internet]. Malden, MA: Blackwell; 2008. p. 125–145. Available from: http://lib.myilibrary.com/Open.aspx?id=106920

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

125.
Innes C. ‘Simon Stephens’ IN The Methuen drama guide to contemporary British playwrights. The Methuen drama guide to contemporary British playwrights [Internet]. London: Methuen Drama; 2011. p. 445–465. Available from: http://lib.myilibrary.com?id=604121

126.
Innes C. Simon Stephens. The Methuen Drama Guide to Contemporary British Playwrights. London: Methuen Drama; 2011. p. 445–465.

127.
Lane D. Contemporary British Drama. Edinburgh: Edinburgh University Press; 2010.

128.
Lane D. Contemporary British drama [Internet]. Edinburgh: Edinburgh University Press; 2010. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=289981

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

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

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

132.
Nielsen LD, Ybarra PA. Neoliberalism and global theatres: performance permutations. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan; 2012.

133.
Nielsen LD, Ybarra PA. Neoliberalism and Global Theatres: Performance Permutations [Internet]. Basingstoke: Palgrave Macmillan; 2012. Available from: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1016590

134.
Rebellato D. ‘And I Will Reach Out My Hand With A Kind of Infinite Slowness And Say The Perfect Thing’: The Utopian Theatre of Suspect Culture. Contemporary Theatre Review. 2003 Feb;13(1):61–80.

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

136.
Reid T. ‘Post-Devolutionary Drama’ IN The Edinburgh companion to Scottish drama. The Edinburgh companion to Scottish drama [Internet]. Edinburgh: Edinburgh University Press; 2011. p. 188–199. Available from: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410222700002671&institutionId=2671&customerId=2670

137.
Reid T. ‘Post-Devolutionary Drama’ IN The Edinburgh companion to Scottish drama. The Edinburgh companion to Scottish drama [Internet]. Edinburgh: Edinburgh University Press; 2011. p. 188–199. Available from: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13409327080002671&institutionId=2671&customerId=2670

138.
Reinelt J. David Greig. The Methuen Drama Guide to Contemporary British Playwrights [Internet]. London: Methuen Drama; 2011. p. 203–222. Available from: http://lib.myilibrary.com?id=604121

139.
Reinelt J. ‘David Greig’ IN The Methuen Drama guide to contemporary British playwrights. The Methuen Drama guide to contemporary British playwrights. London: Methuen Drama; 2011. p. 203–222.

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

141.
Wallace C. The theatre of David Greig. London: Bloomsbury; 2013.

142.
Wright I. ‘Working in Partnership: David Greig in Conversation with Isabel Wrigh’ IN Trans-global readings: crossing theatrical boundaries. Trans-global readings: crossing theatrical boundaries. Manchester: Manchester University Press; 2003. p. 157–167.

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

144.
Lustgarten A. 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 [Internet]. London: Bloomsbury Methuen Drama; 2013. Available from: http://www.dramaonlinelibrary.com/plays/if-you-dont-let-us-dream-we-wont-let-you-sleep-iid-131990

145.
Nield S. Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order. In: Rai S, Reinelt JG, editors. The grammar of politics and performance. London: Routledge; 2016. p. 121–133.

146.
Nield S. Tahrir Square, EC4M: The Occupy Movement and the Dramaturgy of Public Order. The Grammar of Politics and Performance [Internet]. London: Routledge; 2015. p. 121–133. Available from: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315879871

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

148.
Kirkwood L. Chimerica. Chimerica [Internet]. Revised edition. London: Nick Hern Books; 2013. Available from: http://www.dramaonlinelibrary.com/plays/chimerica-iid-134974

149.
Price T. The Radicalisation of Bradley Manning. The Radicalisation of Bradley Manning [Internet]. Bloomsbury Publishing; 2012. Available from: http://www.dramaonlinelibrary.com/plays/the-radicalisation-of-bradley-manning-iid-138811

150.
Waters S. Temple. Temple [Internet]. London: Nick Hearn Books; 2015. Available from: http://www.dramaonlinelibrary.com/plays/temple-iid-159234

151.
Adiseshiah SH, LePage L, editors. Twenty-first century drama: what happens now. London: Palgrave Macmillan; 2016.

152.
Angelaki V, editor. Contemporary British theatre: breaking new ground. Basingstoke: Palgrave Macmillan; 2013.

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

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

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

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

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

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

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Lustgarten A. A Day At The Racists. A Day at the Racists [Internet]. Bloomsbury Publishing; 2010. Available from: http://www.dramaonlinelibrary.com/plays/a-day-at-the-racists-iid-135250

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

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Williams R. Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want? New Theatre Quarterly. 2006 May;22(02).

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Wertenbaker T. After Darwin. Plays two. London: Faber; 2002.

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Dear N, Shelley MW. Frankenstein. London: Faber and Faber; 2011.

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Payne N. Constellations. London: Faber; 2012.

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Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts. Modern Drama. 2002;45(4).

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Shepherd-Barr K. Darwin on Stage: Evolutionary Theory in the Theatre. Interdisciplinary Science Reviews [Internet]. 2008;33(2):107–115. Available from: http://www.menagerie.uk.com/wp-content/uploads/2009/08/darwin-on-stage-kirsten-shepherd-barr.pdf

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Bartlett M. 13. London: Methuen Drama; 2011.

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

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

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

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

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Angelaki V. ‘Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens’ IN Ethical speculations in contemporary British theatre. In: Aragay M, Monforte E, editors. Ethical speculations in contemporary British theatre. Basingstoke, Hampshire: Palgrave Macmillan; 2014. p. 135–151.

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