In "True Confessions & New Cliches," Liz Lochhead has brought together a selection of the best of her raps, songs, sketches and monologues from her plays and revues. She pokes fun at the seriousness with which we deal with everyday events in touching and hilarious ways. For a poet who believes so much in poetry belonging to the voice, these works hold a special place and they have become firm favorites with the many fans who attend her public readings.

In True Confessions & New Cliches, Liz Lochhead has brought together a selection of the best of her raps, songs, sketches and monologues from her plays and revues. She pokes fun at the seriousness with which we deal with everyday events in touching and hilarious ways. For a poet who believes so much in poetry belonging to the voice, these works hold a special place and they have become firm favorites with the many fans who attend her public readings.

A study of the Scottish female writer and dramatist Liz Lochhead. It examines the full range of her work and supplies a variety of contexts in which her work can be read, including feminist ideology and theatre history. It also contains a full bibliography of her work and new material.

This Guide examines the critical construction of the genre of 'contemporary Scottish literature' and assesses the critical responses to a wide range of contemporary Scottish fiction, poetry and drama. The Guide is structured thematically with each chapter addressing a specific area of debate within the field of contemporary Scottish Studies.

The year 1956 marked a point when British drama and theater fell into the hands of a group of young playwrights who revolutionized the stage. During that time, playwrights such as Samuel Beckett and Harold Pinter made the British theater as rich, varied, and vital as any national theater in history. This reference chronicles the history of British theater from 1956 to 1995 by providing detailed information about the playwrights of that period. Included are entries for some three dozen British playwrights active between 1956 and 1995. Entries are arranged alphabetically to facilitate use. Each entry supplies biographical information, the production history for particular plays, a survey of the playwright's critical reception, an assessment of the dramatist's work, and primary and secondary bibliographies. A selected, general bibliography at the end of the volume directs the reader to important sources of additional information about this period in theater history.

From the late 1960s until the present day, a significant number of women playwrights have emerged in Scottish theatre who have made a pioneering contribution to dramatic innovation and experimentation. Despite the critical reassessment of some of these authors in the last twenty years, their invaluable achievement in playwriting, within and outside Scotland, still deserves more thorough investigations and fuller acknowledgement. This work explores what is still uncharted territory by examining a selection of representative texts by Ann Marie di Mambro, Marcella Evaristi, Sue Glover, Jackie Kay, Liz Lochhead, Sharman Macdonald, and Joan Ure. The three macro-thematic areas of the book – the rewriting of the Shakespearean canon; the representation of female communities and minorities; and the conflicts between the self and society – find significant and paradigmatic expression in their dramas. All seven writers examined in this book have explored new theatrical methods, introduced aesthetic innovations and opened new perspectives to engage with the complexities of national, community and individual identities. This study will surely contribute to wider recognition of their achievement, so that their work can never again be described as “uncharted territory”.