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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: 25 July 2025

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

1

Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (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 vulne

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2

Baş, Elif. "The Quest of Young Turkish Playwrights: In-Yer-Face Theatre." American, British and Canadian Studies 30, no. 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 atmo

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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 (2014): 17. http://dx.doi.org/10.21184/jkeia.2014.12.8.4.17.

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De Vos, Laurens. "Aleks Sierz, In-Yer-Face Theatre. British Drama Today." Documenta 19, no. 2 (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 (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 aga

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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. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (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, Scotti

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Sierz, Aleks, and Mesut Günenç. "In Interview: Key Features of Contemporary British Drama." New Theatre Quarterly 39, no. 1 (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, 200

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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 (2020): 101–15. http://dx.doi.org/10.21608/ttaip.2020.133419.

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ZARHY-LEVO, YAEL. "Dramatists under a label: Martin Esslin’s The Theatre of the Absurd and Aleks Sierz’ In-Yer-Face Theatre." Studies in Theatre and Performance 31, no. 3 (2011): 315–26. http://dx.doi.org/10.1386/stp.31.3.315_1.

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

1

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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Khani, Somayeh. "Staging Risk Society: A Cultural Sociological Reading of In-Yer-Face Theatre." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370900.

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The central purpose of this thesis is to explore the interconnections between historical, political, economic, and cultural context of a society and the creation of socio-cultural meaning through a specific theatrical style and genre. Known as In-Yer-Face (IYF) this genre of theatre became highly controversial and could be said to represent the zeitgeist of the 1990s in Britain, mainly through its reflection of post-Thatcherite concerns and anxieties relating to the increasingly precarious conditions of everyday life which dominated the British society at the time, particularly in the context

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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,

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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 o

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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 d

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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 Robe

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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<br>This thesis examines the means b

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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.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

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9

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 the

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10

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 constructionis

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

1

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

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2

Kitzler, Agnes Maria. The influence of absurdist theatre on contemporary in-yer-face plays: A comparative analysis of plays, from Samuel Beckett to Sarah Kane. VDM, Verlag Dr. Müller, 2011.

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3

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

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4

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

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5

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

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

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7

Fack, Anne Katrin. Influence of Absurdist Theatre on in-Yer-Face Theatre in the 1990's As Exemplified by Beckett's Endgame and Ravenhill's Shopping and F***ing. GRIN Verlag GmbH, 2017.

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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 c

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9

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 i

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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

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

1

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

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2

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. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_10.

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3

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

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

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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. 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. 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. 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. 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. 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. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_4.

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