Essential for students of theatre studies, Methuen Drama's Decades of Modern British Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1950s to 2009 in six volumes. Each volume features a critical analysis and reevaluation of the work of four/five key playwrights from that decade authored by a team of experts, together with an extensive commentary on the period . Edited by Dan Rebellato, Modern British Playwriting: 2000-2009 provides an authoritative and stimulating reassessment of the theatre of the decade, together with a detailed study of the work of David Greig (Nadine Holdsworth), Simon Stephens (Jacqueline Bolton), Tim Crouch (Dan Rebellato), Roy Williams (Michael Pearce) and Debbie Tucker Green (Lynette Goddard). The volume sets the context by providing a chronological survey of the decade, one marked by the War on Terror, the excesses of economic globalization and the digital revolution. In surveying the theatrical activity and climate, Andrew Haydon explores the response to the political events, the rise of verbatim theatre, the increasing experimentation and the effect of both the Boyden Report and changes in the Arts Council's priorities. Five scholars provide detailed examinations of the playwrights' work during the decade, combining an analysis of their plays with a study of other material such as early play drafts and the critical receptions of the time. Interviews with each playwright further illuminate this stimulating final volume in the Decades of Modern British Playwriting series.

This book examines the socio-political and theatrical conditions that heralded the shift from the margins to the mainstream for black British Writers, through analysis of the social issues portrayed in plays by Kwame Kwei-Armah, debbie tucker green, Roy Williams, and Bola Agbaje.

This collection of essays examines the contribution of British plays to key social, political, and intellectual debates since 2000. It explores some of the most pressing concerns that have dominated the public discourse in Britain in the last decade, focusing on their representation in dramatic texts. Each essay provides an in-depth analysis of one play, assessing its particular contribution to the debate in question. The book aims to show how contemporary drama has developed unique ways to present the complexities and ambiguities of certain issues with aesthetic as well as emotional appeal.

This edited collection brings together a team of internationally prominent academics and delivers cutting-edge discourse on the strongly emerging tradition of experimentation in contemporary British theatre - redefining what the dramatic stands for today. Each chapter of the collection focuses on influential contemporary plays and playwrights.

When we think of the contemporary British history play, why might we automatically think of playwrights such as David Hare, Howard Brenton, Peter Gill and Edward Bond? Because for decades the writing of the history play has been the preserve of the white male. This book provides a vital feminist intervention into the dramaturgy of history plays, investigating work produced at major British theatres from 2000 to the present, written by a generation of innovative women playwrights. This much-needed study explores the use of history – specifically Elizabethan, Restoration, Victorian and early 20th century – in contemporary playwriting in order to interrogate the gender politics of this work. Within the framework of contemporary feminism – including the pivotal #MeToo movement – the book looks at post-2000s feminist drama that somehow represents the past. Through delving into the recurring tropes and their politics in the light of current feminist debate, the author helps us grasp how these plays essentially re-imagine gender politics. Plays that are considered include Emilia (Morgan Lloyd Malcolm), Swive [Elizabeth] (Ella Hickson), An August Bank Holiday Lark (Deborah McAndrew), The Empress (Tanika Gupta), Red Velvet (Lolita Chakrabarti), Scuttlers (Rona Munro), I, Joan (Charlie Josephine), Blue Stockings and Nell Gwynn (Jessica Swale), and the musical Six (Toby Marlow and Lucy Moss).

This volume is the first to offer a comprehensive critical examination of the intersections between contemporary ethical thought and post-1989 British playwriting. Its coverage of a large number of plays and playwrights, international range of contributors and original argumentation make it a key point of reference for students and researchers.

Literary Worlds and Deleuze contributes to debates on mimesis by offering an ‘expressionist’ take on the matter of the generation of literary worlds in drama. In examining postdramatic plays by Sarah Kane, Martin Crimp, Caryl Churchill, and Laura Wade, the book outlines a dynamic ontology of mimesis. Rather than pertaining to a static ontology of ‘being’, expressionist mimesis is generative and renews itself constantly without arriving at an entelechial end. In exploring the fluxional field of forces and relations that underlie the order of representation, expressionist mimesis is well suited to account for the ontologically uncertain realities of postdramatic theatre. The concepts of ‘expression’ and ‘the event of sense’ (Gilles Deleuze) become part of a generative model that incorporates pre-linguistic and supra-conceptual constituents within the genesis of representation.