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Relevant bibliographies by topics / In-Yer-Face Theatre

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Academic literature on the topic 'In-Yer-Face Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2023

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Journal articles on the topic "In-Yer-Face Theatre"

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Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (February 2002): 17–24. http://dx.doi.org/10.1017/s0266464x0200012x.

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The dramatic upsurge of contemporary new writing on British stages in the past decade, and the emergence of a fresh generation of playwrights led by such talents as Mark Ravenhill, Philip Ridley, Joe Penhall, Phyllis Nagy, Patrick Marber, and the late Sarah Kane, has been variously characterized as the ‘New Brutalism’ or even, in Germany, as the ‘Blood and Sperm Generation’. Here, Aleks Sierz summarizes the argument for ‘In-Yer-Face Theatre’ as the most pertinent and inclusive description for the phenomenon, listing its salient characteristics and suggesting the areas in which it is most vulnerable to criticism. Aleks Sierz is theatre critic of Tribune and writes about theatre for several publications. He is the author of In-Yer-Face Theatre: British Drama Today (London: Faber, 2001) and teaches journalism at Goldsmiths College, University of London. An earlier version of this article was given as a paper at the In-Yer-Face Theatre: Sarah Kane and the New British Dramaturgy conference at Stendhal University 3, Grenoble, in May 2001.

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Hong, Ju-Young. "The Aesthetic Characteristics of In-Yer-Face Theatre." Joural of the Korea Entertainment Industry Association 8, no. 4 (December 31, 2014): 17. http://dx.doi.org/10.21184/jkeia.2014.12.8.4.17.

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Baş, Elif. "The Quest of Young Turkish Playwrights: In-Yer-Face Theatre." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 114–32. http://dx.doi.org/10.2478/abcsj-2018-0007.

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Abstract In-yer-face theatre, which emerged in Britain in the 1990s, became extremely popular on the stages of Istanbul in the new millennium. Some critics considered this new outburst as another phase of imitation. This phase, however, gave way to a new wave of playwrights that wrote about Turkey’s own controversial problems. Many topics, such as LGBT issues, found voice for the first time in the history of Turkish theatre. This study examines why in-yer-face theatre became so popular in this specific period and how it affected young Turkish playwrights in the light of Turkey’s political atmosphere.

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De Vos, Laurens. "Aleks Sierz, In-Yer-Face Theatre. British Drama Today." Documenta 19, no. 2 (June 5, 2019): 123–26. http://dx.doi.org/10.21825/doc.v19i2.11369.

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Sierz, Aleks. "Cool Britannia? ‘In-Yer-Face’ Writing in the British Theatre Today." New Theatre Quarterly 14, no. 56 (November 1998): 324–33. http://dx.doi.org/10.1017/s0266464x00012409.

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The appearance of a succession of controversial and attention-catching new plays on the British stage in the 'nineties has led to considerable public discussion – and not a little ostensible outrage. In ‘an interim report’, Aleks Sierz examines the rash of plays about sex, drugs, and violence – notably Trainspotting, Blasted, Mojo, and Shopping and Fucking – by twenty-something authors, and asks whether they have anything in common beyond a flamboyant theatricality and the desire to shock. After showing how Cool Britannia's manifestation on the national stage has provoked arguments for and against this ‘in-yer-face’ drama, he outlines some of the common themes – such as the crisis of masculinity and the postmodern sensibility – that characterize much contemporary new writing. He argues that while these young writers are certainly gifted and mature, only subsequent theatrical revivals of their work will show whether it has anything lasting to say. Aleks Sierz is theatre critic for Tribune, and currently writing a book about ‘in-yer-face’ drama.

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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (January 5, 2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scottish, and American) playwriting, however modishly its characters may now be drawn from the underclass rather than the upper; and he identifies a ‘hunger for ideas’ among British audiences which is ill-satisfied by the dystopian despair of many would-be political dramatists.

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ÇAĞLAYAN, Ezel. "Suratına (In-Yer-Face) Tiyatro’da Bir İletişim Şekli: Gölge ve Katarsis A Communication Format in In-Yer-Face Theatre: Shadow and Catharsis." Aydın Sanat İstanbul Aydın Üniversitesi Güzel Sanatlar Fakültesi Dergisi 7, no. 13 (2015): 57–63. http://dx.doi.org/10.17932/iau.sanat.2015.015/sanat_v07i13005.

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Sierz, Aleks, and Mesut Günenç. "In Interview: Key Features of Contemporary British Drama." New Theatre Quarterly 39, no. 1 (January 30, 2023): 61–68. http://dx.doi.org/10.1017/s0266464x22000379.

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In this interview on 22 March 2022 in London, Mesut Gunenc talks to theatre critic and historian Aleks Sierz about how his work has influenced contemporary British drama, why he chose the name ‘in-yer-face theatre’ for 1990s avant-garde plays, and why some writers have rejected the label. They also discuss the differences between experiential and experimental theatre, especially focusing on the work of Anthony Neilson, and finish by considering the key themes that characterize 1990s new writing in Britain.Aleks Sierz is author of the seminal In-Yer-Face Theatre: British Drama Today (Faber, 2001), as well as of other work about new writing and post-war British theatre history. His more recent books include Rewriting the Nation: British Theatre Today (Methuen Drama, 2011), Modern British Playwriting: The 1990s (Methuen Drama, 2012), and Good Nights Out: A History of Popular British Theatre Since the Second World War (Methuen Drama, 2021). He has co-authored, with Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon, 2015). Mesut Gunenc is Assistant Professor in the Department of English Language and Literature at Adnan Menderes University in Turkey. He is the author of Postdramatic Theatrical Signs in Contemporary British Playwrights (Lambert, 2017) and co-editor, with Enes Kavak, of New Readings in British Drama: From the Post-War Period to the Contemporary Era (Peter Lang, 2021). He is currently a visiting postdoctoral scholar at Loughborough University in the UK.

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El-Sawy, Amany. "The Space Aesthetics of In-Yer-Face Theatre in Phyllis Nagy's The Strip." Textual Turnings: An International Peer-Reviewed Journal in English Studies 2, no. 1 (December 1, 2020): 101–15. http://dx.doi.org/10.21608/ttaip.2020.133419.

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Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (October 25, 2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.

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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produced by the Committee Theatre Company in New York City. His play about the first US Secretary of Defense, The Absence of Weather, will premiere in Los Angeles at Moving Arts Theatre Company, which has named it the winner of its national new play award. At the request of the Sarah Kane Estate, Urban directed the New York premiere of her play Cleansed. He teaches Modern Drama and Creative Writing in the English Department at Rutgers University, New Brunswick. An early version of this article was first presented at the ‘In-Yer-Face? British Drama in the 1990s’ conference at the University of the West of England, Bristol, in September 2002.

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Dissertations / Theses on the topic "In-Yer-Face Theatre"

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Sierz, Aleks. "In yer face theatre : interpreting new writing for British theatre in the 1990s and after." Thesis, University of Westminster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434293.

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Amaral, Camila Aparecida Viana. "Desafios estético-formais na peça Blasted, de Sarah Kane." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-13022017-114925/.

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O presente trabalho tem por objetivo estudar pontuais questões estéticas e formais na peça da dramaturga inglesa Sarah Kane: Blasted (1995), de modo a entender a forma e sua respectiva correspondência com o contexto sócio-histórico. Em linhas gerais, o estudo objetiva investigar os procedimentos formais utilizados por Kane e as relações entre tema e forma, partindo do pressuposto de Peter Szondi que compreende a forma como conteúdo precipitado. Nesse sentido, analisaremos de que maneira elementos temáticos, tais como a violência (psicológica, verbal, física), a guerra, o abuso sexual e tabus, tais como, cenas de intercurso hetero e homossexual, canibalismo, entre outros, são amplamente utilizados pela dramaturga e como se engendram estruturalmente no enredo da peça. Para tanto, procuramos fazer uma breve introdução histórico teatral ao contexto político, econômico e social da Inglaterra nos anos noventa, à peça, à dramaturga e à estética teatral do In-yer-face theatre. Em seguida, focamos na apresentação cena-a-cena da peça, dedicada à análise pormenorizada de Blasted e ao levantamento das temáticas relevantes expressas na peça. Finalmente, nos dedicamos às relações formais e escolhas estéticas presentes em Blasted, relacionadas aos eventos histórico-sociais a que a peça remete.
The present work aims to study specific formal-aesthetic issues in the 1995 play Blasted by British playwright Sarah Kane in order to understand the play´s form as related to its socio-historical context. In general terms, this study aims to investigate the formal procedures used by Kane and the plays relations between theme and form, according to Peter Szondi´s assumptions which comprehend that form could be conceived of as precipitated content. In this sense, we will analyze how themes such as psychological, verbal and physical violence, war, sexual abuse and taboo scenes of heterosexual and homosexual intercourse, for example, or cannibalism, among others, are widely used by the playwright and how they are structurally embedded in the plot of the play. The study starts with a brief historical introduction to the political, economic and social context of England in the nineties, followed by an introduction to the play and its theatrical context, to the playwright and to the aesthetic principles of In-yer-face theatre. Then, we focus on the detailed analysis of each scene of the play, stressing its relevant issues. Lastly, we proceed to analyze the formal relations and the aesthetic choices present in Blasted, as related to the social-historical events that the play refers to.

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Boll, Julia. "Unlisted character : on the representation of war and conflict on the contemporary stage." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/7987.

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The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21st century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state of exception has become the status quo. Seminal studies on contemporary warfare and society such as Mary Kaldor's New & Old Wars (2005) and Ulrich Beck's World at Risk (2008 [2007]) trace how the face of war has changed over the past fifteen years. The dramatic texts examined in this thesis reach from plays depicting inner-state conflict, civil war and the politics of fear, for example Caryl Churchill's Far Away (2000), Sarah Kane's Blasted (1995) and Zinnie Harris's war trilogy (2005-2008) over documentary and verbatim-based plays and their attempt to portray the trauma of war by recreating on stage the process of giving testimony and by endorsing public grieving (e.g. various Tricycle productions and Gregory Burke's Black Watch [2006]), to adaptations of Greek tragedies (like Martin Crimp's Cruel and Tender [2004]) and a Shakespearean play. The questions underlying this work are: how can war be represented on stage? and, how do the plays replicate the sociological structures leading to violence and war and explore their transformation of societies? Springing from the discussion about 'New Wars' in the age of globalisation, it will be demonstrated here how these 'New Wars' also bring forth new plays about war.

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Ayache, Solange. "‘In-Yer-Head’ Theatre : Staging the Mind in Contemporary British Drama. Towards a Quantum Psychopoetics of the Stage." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040010.

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Cette étude s’intéresse à l’espace mental comme nouveau terrain d’exploration du drame britannique contemporain, et examine les manifestations d’un mouvement qui « met en pièces » les régions inexplorées des pensées inconscientes et les contrées impénétrables du traumatisme. Puisant dans les découvertes de la psychanalyse et des sciences cognitives, inspiré par le changement de paradigme de la mécanique quantique et ses interrogations sur le rôle et la nature de la conscience, ce théâtre non plus tant « in-yer-face » que « in-yer-head » s’éloigne de la sensibilité des années 1990. Les pièces de Crimp, Kane, Churchill, Cooper, Frayn, Stephens, Payne, Haddon, Ravenhill, Neilson et d’autres déconstruisent et reconstruisent le personnage comme la somme virtuelle de tous ses possibles. Le mode d’existence spéculatif, diffracté et pluriel du sujet renouvelle les définitions du réalisme psychologique et du réalisme théâtral. Ce travail étudie les modalités de cette « psychopoétique quantique » autour de concepts clés comme la probabilité ou l’incertitude, et montre comment des métaphores issues de la théorie quantique comme la dualité onde-particule ou les mondes multiples servent à illustrer l’indétermination de la psyché en évoquant les mécanismes de défense et autres symptômes qui constituent la réalité subjective d’esprits affectés par le traumatisme, la psychose, le stress ou la maladie neurologique. Nous montrons qu’en explorant la nature de la conscience, du soi et de la réalité ainsi que la condition des femmes, ces pièces posent des questions philosophiques sur le libre arbitre et la possibilité de choix dans un monde devenu plus incertain et imprévisible que jamais
This study asserts that the human mind has become the new frontier in contemporary British drama, and interrogates and assesses manifestations of this movement which stages uncharted regions of thought and the dark territories of traumatic mindscapes. Drawing on theories from psychoanalysis and cognitive science, and inspired by the paradigm shifts of quantum mechanics and its interrogations on the role and nature of consciousness, this new theatre moves from “in-yer-face” to “in-yer-head” and away from the sensibility of the “nasty nineties.” Plays by Crimp, Kane, Churchill, Cooper, Frayn, Stephens, Payne, Haddon and others deconstruct and reconstruct the character as thevirtual sum of all her possibilities. In these mental spaces, the subject’s speculative, diffracted and plural mode of existence redefines psychological realism and stage realism. Examining the modalities of a quantum “psychopoetics” around key concepts such as probability and uncertainty, I show how metaphors borrowed from quantum theory based on the double slit-experiment, the wave-particle duality, the wavefunction collapse, the observer effect, quantum decoherence, quantum entanglement, and the many-worlds interpretation are used to emphasise the intrinsic indeterminacy of our minds. They evoke a number of psychological defense mechanisms and other symptoms that constitute the subjective reality of disturbed minds affected by trauma, psychosis, stress or neurological disease. By exploring the nature of mind, the self, and reality, and the condition of women, these plays address philosophical questions about free will and choice in a world that has become more uncertain and unpredictable than ever

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Campos, Fabiano Fleury de Souza. "As formas do consumo no teatro político de Mark Ravenhill." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-10042015-121523/.

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Nesta dissertação, busca-se analisar os elementos dramatúrgicos constituintes da polêmica peça Shopping and Fucking (1996), do dramaturgo britânico Mark Ravenhill, relacionando suas características de forma e conteúdo e seus decorrentes imbricamentos. O ponto de partida dessa empreitada encontra-se não somente em obras teóricas importantes da crítica de literatura, teatro e cultura de autoria de Peter Szondi, Anatol Rosenfeld, Roberto Schwarz e Fredric Jameson, mas também nas de autores mais estreitamente vinculados às ciências econômicas e à crítica do sistema mundial como Ernst Mandel e Robert Kurz. Podemos, por meio dessa análise, concluir que Ravenhill é capaz de retratar por meio da configuração da peça aspectos simultaneamente relacionados tanto à subjetividade quanto à sociedade contemporâneas ambas em estado de crise permanente. Na primeira parte da dissertação, procura-se introduzir historicamente a peça, o teatro In-yer-face e o período Thatcher. Na segunda parte, destacam-se principalmente os temas presentes abordados em relação à forma. Na terceira, há uma predominância da análise formal e observa-se a presença de elementos épicos que, algumas vezes desvirtuados, desestruturam a forma puramente dramática. Constatação essa que, segundo levantamento bibliográfico realizado, ainda não havia sido defendida por críticos que se debruçaram sobre a obra desse dramaturgo. E, na quarta parte, nas considerações finais, procura-se entender a forma e a sua respectiva correspondência com o contexto sócio-histórico segundo as considerações analíticas levantadas nos capítulos anteriores.
In this dissertation, our goal is to analyze the theatrical elements that constitute the controversial play Shopping and Fucking (1996), by the British playwright Mark Ravenhill, relating its characteristics of form and content and their resulting intersections. The focus lies not only on the important theoretical works of literature, theatre and culture critique by Peter Szondi, Anatol Rosenfeld, Roberto Schwarz and Fredric Jameson, but also on those of authors more closely tied to economics and world system critics such as Ernst Mandel and Robert Kurz. The analysis concludes that Ravenhill simultaneously relates aspects of subjectivity and the contemporary society both in a state of permanent crisis. The first part of the dissertation introduces the play, the In-yer-face theatre and the Thatcher period. The second part emphasizes the themes presented addressed in relation to the form. The third part stresses the predominance of formal analysis, in which epic elements, somewhat garbled, deconstruct the dramatical form. Nevertheless, according to bibliographical research, such an analysis has not been developed, to the present day, by critics familiar with Ravenhill\'s theatrical works. In the concluding chapter an understanding is sought towards the plays form and its correspondences with the socio-historical context following our previous analysis.

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Dennis, Krysta. "Globalizing McDonagh : the Playwright in Performance on the World Stage." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA058.

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Cette thèse examine comment les pièces de Martin McDonagh, dans le texte même et sur scène, démontre les éléments destructeur, homogénéisant, et renforçant des stéréotypes de la mondialisation, ainsi que les éléments positifs comme l’échange culturel et la ‘glocalisation.’ Ceci est réalisé en analysant les représentations comique du terrorisme et terrorisation présent dans les pièces, ainsi qu’une analyse de trois traductions des pièces de McDonagh en français, et une étude sur la représentation du caractère Irlandais dans les pièces de McDonagh à l’étranger
This thesis examines the means by which the plays of Martin McDonagh, both in text and performance, display the destructive, homogenizing, or stereotype-reinforcing element of globalization, as well as the positive elements such as globalized cultural exchange and (g)localization. It does so through an analysis of the humorous representations of terrorism and terrorization present in the plays, an in depth study of three French translations of the plays, and a study of the representation of Irishness in McDonagh’s plays abroad

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Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.

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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Sedláková, Jitka. "Sociální témata v dílech In-Yer-Face Theatre." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-296516.

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In-Yer-Face theatre is a new kind of theatre which was established in Britain in the 1990s. With it, a new sensibility arrived into the theatre. The first part of this diploma thesis is aimed to bring to the reader's attention the concept of In-Yer-Face Theatre and investigate the life and work of two of its playwrights. The main attention will be paid to two plays, Blasted (1995) by Sarah Kane and Shopping and Fucking (1995) by Mark Ravenhill who belong to the major representatives of In-Yer-Face Theatre of the socalled 'New Writing'. The in-yer-face themes in the context of 1990s British theatre will be demonstrated on these plays.

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Buchler, Louise Anne. "In-yer-face : the shocking Sarah Kane." Thesis, 2008. http://hdl.handle.net/10413/213.

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Playwright, Sarah Kane emerged as a new voice in British writing in the early 1990s. Her work, recognized most notably for its shocking content, was the source of media hype, and rendered her work, with that of her peers, as In-Yer-Face Theatre. This dissertation analyses the use of shock in Kane‟s work, with particular reference to her first and last plays: Blasted and 4.48 Psychosis. I discuss the shock elements employed by Kane in these texts and consider the reasons behind their use, particularly Kane‟s break with realism and subversion of form. My research draws upon social constructionist thought as a strand of the larger discourses of postmodernism, in particular those which inform the existence of war, violence and trauma. Focusing too, on the work of theatre practitioners such as Antonin Artaud, whose „Theatre of Cruelty‟ is reminiscent of Kane‟s own theatre. I discuss the origin of In-Yer-Face Theatre as well as its forerunners by examining Post-War British Theatre from the 1940‟s, especially those plays that have resonated on a provocative level. My research also explores the social and political factors influencing theatre over the decades and in relation to Kane, particularly the Thatcher government of the 1980s. I argue that the social and political climate of the 1980s and 1990s played a direct role in the formation of Kane‟s theatre and examine Kane‟s work and its reception in relation to other playwrights of the time. I have deliberately chosen to locate my research in terms of British theatre.
Thesis (M.A. (Drama and Performance Studies)) - University of KwaZulu-Natal, Pietermaritzburg, 2008.

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Chang, Po-Jen, and 張伯任. "Absurdity, Revolt and Dialectic of Power: From the Drama of Existentialism, the Theatre of the Absurd to In-yer-face Theatre." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/w6a8h4.

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碩士
國立臺灣大學
戲劇學研究所
106
Existentialism has been affected themes in drama and theatre for a long time. The Theatre of Absurd may be the most famous representative of this genre due to the absurdist philosopher Albert Camus. The emergence of absurdist theatre impacted on the drama criticism at that time, but its influence seems to be fading away. However, we can find out that existentialism keeps within the new wave of theatre because of the everlasting question of Being. Therefore, this thesis mainly focuses on finding the connection among three styles of drama: the drama of existentialism, the theatre of the absurd and in-yer-face theatre by analyzing their definition, historical background and central themes. Existence (power), absurdity and rebellion are the major subjects in the script analysis because they are three big points in the realm of existentialism, especially to Nietzsche, Sartre and Camus. By dissecting the representative play of these three different styles of drama, the ultimate goal is to find their essence in common and literary inheritance relationship.

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Books on the topic "In-Yer-Face Theatre"

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Boles, William C., ed. After In-Yer-Face Theatre. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1.

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In-yer-face theatre: British drama today. London: Faber and Faber, 2001.

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Sierz, Aleks. In-Yer-Face Theatre. Faber & Faber, Limited, 2014.

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Boles, William C. After In-Yer-Face Theatre: Remnants of a Theatrical Revolution. Palgrave Macmillan, 2020.

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Boles, William C. After in-Yer-Face Theatre: Remnants of a Theatrical Revolution. Springer International Publishing AG, 2021.

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Ward, Ian. The Play of Law in Modern British Theatre. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474450140.001.0001.

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The Play of Law in Modern British Theatre investigates the place and purpose of law in a range of modern dramatic settings and writings. Each chapter, which focusses on a particular area of law and the work of a particular playwright, illustrates the important role of theatre in articulating legal and political issues to a modern audience. The encompassing aspiration of The Play of Law in Modern British Theatre introduces the reader to a variety of genres in modern dramatic writing. From the ‘state of the nation’ plays of the 1980s and 1990s, to ‘verbatim’ and modern historical drama, to the calculated violence of ‘in-yer-face’, and associated expressions of radical and feminist theatre. Amongst those playwrights whose work is considered are David Hare, Richard Norton-Taylor, Caryl Churchill, Howard Brenton, Mike Bartlett, Sarah Kane, Bryony Lavery and Evan Placey. Along the way the reader is introduced to an equally wide range of areas of political and legal debate; from constitutional reform, to the present state of international law, to a variety of familiar controversies in associated areas of law, society, and gender.

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Shepherd-Barr, Kirsten E. 6. Bearing witness: drama since 1980. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199658770.003.0007.

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Theatre since 1980 is marked by a number of striking new forms, movements, and innovations, ushered in by a plethora of fresh new playwrights bursting on to the scene as well as the ongoing work of long-established playwrights. Through developments like verbatim theatre—a renewal of documentary drama—‘in-yer-face’ theatre, and postmodern theatre, drama in recent decades has been breaking taboos and fundamentally challenging what is acceptable for theatrical representation. ‘Bearing witness: drama since 1980’ describes some of the plays that define these innovations and goes on to discuss the introduction of science to the stage and the increasing adaptation and reimagining of older works.

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Wallace, Clare. Irish Drama since the 1990s. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.34.

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While writers such as Friel and Murphy seemed to provide a certain continuity in the closing years of the twentieth century, a new generation of writers emerged in the 1990s for whom the Irish dramatic tradition seemed less an inheritance than a foil to be played against (or with) or, in some cases, an irrelevance. For instance, while Martin McDonagh’s work was sometimes associated with British ‘in-yer-face’ theatre of the 1990s, to some commentators his work made more sense as a subversion of an earlier Irish tradition. In the case of Conor McPherson, the breakdown of a community that made a shared theatre culture possible was registered in a turn to monologue, while writers such as Mark O’Rowe and Enda Walsh showed a freedom of dramatic form and a set of dramatic concerns reflecting immersion in a mediatized, globalized late modernity.

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Book chapters on the topic "In-Yer-Face Theatre"

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Stöckl, Korbinian. "“Experiential, not speculative”: Love In and After In-Yer-Face." In After In-Yer-Face Theatre, 217–30. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_14.

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Ayache, Solange. "From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neilson." In After In-Yer-Face Theatre, 153–69. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_10.

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Oldham, Thomas A. "Philip Ridley: Still In-Yer-Face." In After In-Yer-Face Theatre, 171–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_11.

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Boles, William C. "Introduction: Reflections on In-Yer-Face from the Other Side of the Atlantic." In After In-Yer-Face Theatre, 1–17. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_1.

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Badham, Cath. "Tales from the East End: Dialogic and Confessional Storytelling as Therapy (?) in the Plays of Philip Ridley." In After In-Yer-Face Theatre, 185–200. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_12.

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Boles, William C. "Joe Penhall’s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad." In After In-Yer-Face Theatre, 201–15. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_13.

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Kinghorn, Shane. "The Echo Chamber: Theater in a “Post-Truth” World." In After In-Yer-Face Theatre, 231–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_15.

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Holden, Nicholas. "“In the Pursuit of New Writers”: The Royal Court Young Peoples’ Theatre and the Development of First-Time Playwrights in the 1990s." In After In-Yer-Face Theatre, 21–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_2.

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Saunders, Graham. "“A Shop Window for Outrage”: Harold Pinter’s Ashes to Ashes, In-Yer Face Theatre and the Royal Court’s 1996 West End Season." In After In-Yer-Face Theatre, 37–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_3.

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Newberry, Rachael. "“The Last Rolo”: Love, Conflict and War in Anthony Neilson’s Penetrator." In After In-Yer-Face Theatre, 57–70. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_4.

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