1. Jonathan Coe, The Rotters’ Club (London: Viking, 2001), p. 4.
2. ‘Terms of the 90s’, ‘Slang of the Nineties’, www.inthe90s.com/generated/terms.shtml. David Rowan, A Glossary for the Nineties (London: Prion Books, 1998). Andrew Marr, A History of Modern Britain (London: Pan, 2008). Ken Roberts, Class in Modern Britain (Basingstoke: Palgrave Macmillan, 2001). Arthur Marwick, British Society Since 1945 (London: Penguin, 2003). A. N. Wilson, Our Times: The Age of Elizabeth (London: Arrow, 2009). ‘Great Britain – Family Roles: Men’s Work, Women’s Work’, http://family.jrank.org/pages/738/Great-Britain-Family-Roles-Men-s-Work-Women-s-Work.html. Trends in UK Statistics since 1900, p. 22; Communities and Local Government website, Housing: Simple Averages, Table 504, www.communities.gov.uk/housing/housingresearch/housingstatistics/housingstatisticsby/housingmarket/livetables/housepricestables/simpleaveragestables/. Office of National Statistics; The Nature of Family Change in Great Britain, http://family.jrank.org/pages/737/Great-Britain-Nature-Family-Change-in-Great-Britain.html. A Century of Change: Trends in UK Statistics since 1900, House of Commons Research paper 99/111 (December 1999), http://docs.google.com/viewer?a=v&q=cache:c0VLygbgsVIJ:www.parliament.uk/commons/lib/research/rp99/rp99–111.pdf+britain%2B1990s%2Bstatistics&hl=en&gl=uk&pid=bl&srcid=ADGEESiSCYlZhKwtx7poWU7dse27Jvb16C-U3cNKCqmQSKWolMS84zUQJJbeVuHyQL9oMjYnR3rUyZgjBsDQlwNp_dT68ivB47RftWUqF4HJevnLXj2VpWtSBI-gJZ7bKBl_fyBaLIp3&sig=AHIEtbSGAoammyevuOuLpR-ENn4H1lbxCA. ‘World City: 1950s – Today’, permanent exhibition, Museum of London, Barbican, London.
3. Marwick, British Society Since 1945.
4. Jane Stokes and Anna Reading (eds), The Media in Britain: Current Debates and Developments (London: Macmillan, 1999). Hewison, Culture and Consensus: England, Art and Politics Since 1940, rev. edn (London: Methuen, 1997).
5. John Harris, Britpop: Cool Britannia and the Spectacular Demise of English Rock (Cambridge, MA: Da Capa, 2004). Hewison, Culture and Consensus. Elizabeth Young and Graham Caveney, Shopping in Space: Essays on American ‘Blank Generation’ Fiction (London: Serpent’s Tail, 1992). Rachelle Thackray, ‘The 50 Best Selling Books of the 1990s’, Independent, 26 September 1998. ‘Historical & Cultural Sources for 20th-Century Fashion’, V&A website, www.vam.ac.uk/collections/fashion/features/sources_20th_century/index.html.
6. Marr, A History of Modern Britain. Marwick, British Society Since 1945.
7. Michael Howard and William Roger Louis, The Oxford History of the Twentieth Century (Oxford: Oxford University Press, 1998).
1. Mark Ravenhill, Plays One: Shopping and Fucking; Faust is Dead; Handbag; Some Explicit Polaroids (London: Methuen Drama, 2001), p. 138.
2. James Naughtie, ‘Bookclub: Douglas Coupland’, BBC Radio 4, 7 March 2010.
3. Michael Billington, One Night Stands: A Critic’s View of Modern British Theatre (London: Nick Hern, 1993), p. 328.
4. Robert Hewison, Culture and Consensus: England, Art and Politics Since 1940 (London: Methuen, 1997), p. 262.
5. Ibid., p. 257.
6. Ibid., p. 258.
7. Dominic Shellard, British Theatre Since the War (New Haven, CT: Yale University Press, 1999), p. 189.
8. Stephen Lacey, ‘British Theatre and Commerce, 1979–2000’, in Baz Kershaw (ed.), The Cambridge History of British Theatre: Volume 3, since 1895 (Cambridge: Cambridge University Press, 2004), p. 431.
9. Hewison, op. cit., p. 303.
10. Jen Harvie, Staging the UK (Manchester: Manchester University Press, 2005), p. 22.
11. Baz Kershaw, ‘British Theatre, 1940–2002: An Introduction’, in Baz Kershaw (ed.), op. cit., pp. 313–14.
12. Michael Billington, State of the Nation: British Theatre Since 1945 (London: Faber, 2007), p. 348.
13. Country Life, 24 October 1996, p. 46.
14. Benedict Nightingale, The Future of Theatre (London: Phoenix, 1998), p. 3.
15. Society of London Theatre, photocopied statistical abstract (London: SOLT, nd [1996]); London Arts Board, The Arts and Cultural Industries in London: Key Facts (London: London Arts Board, nd [April 1996]), p. 8.
16. Ibid.; National Campaign for the Arts, Facts About the Arts, 3rd edn (London: NCA, 1995), pp. 15–17; and John Elsom, ‘United Kingdom’, in Dom Rubin (ed.), The World Encyclopedia of Contemporary Theatre. Vol. 1 Europe (London: Routledge, 1994), pp. 906–8.
17. Mimi Kramer, review of The Phantom of the Opera, New Yorker, 8 February 1988. See also Aleks Sierz, ‘British Theatre in the 1990s: A Brief Political Economy’, Media, Culture and Society, Vol. 19, No. 3 (1997), pp. 461–9.
18. Billington, One Night Stands, p. 350, see also p. 375.
19. Royal National Theatre, An Inspector Calls, programme, London, 1992. See Aleks Sierz, ‘A Postmodernist Calls: Class, Conscience and the British Theatre’, in Jane Stokes and Anna Reading (eds), The Media in Britain: Current Debates and Developments (London: Macmillan, 1999), pp. 236–45.
20. The name was changed to the Royal National Theatre in 1988, but most people continued to call it the National.
21. Shellard, op. cit., p. 208.
22. Colin Chambers, ‘National Theatre (London)’, in his Continuum Companion to Twentieth Century Theatre (London: Continuum, 2002), p. 532.
23. See John Bull, Stage Right: Crisis and Recovery in British Contemporary Mainstream Theatre (Basingstoke: Macmillan, 1994), pp. 207–19.
24. David Hare, Asking Around: Background to the David Hare Trilogy (London: Faber, 1993), p. 5.
25. Richard Eyre and Nicholas Wright, Changing Stages: A View of British Theatre in the Twentieth Century (London: Bloomsbury, 2000), p. 292. See also Richard Boon, About Hare: The Playwright and the Work (London: Faber, 2003), pp. 44–8.
26. David Hare, ‘Introduction’, Plays Three: Skylight; Amy’s View; The Judas Kiss; My Zinc Bed (London: Faber, 2008), p. ix.
27. Martin Crimp, Plays Two: No One Sees the Video; The Misanthrope; Attempts on Her Life; The Country (London: Faber, 2005), p. 122.
28. Hare, Plays Three, p. 180.
29. Tom Stoppard, Plays Five: Arcadia; The Real Thing; Night & Day; Indian Ink; Hapgood (London: Faber, 1999), p. 8.
30. John Fleming, Tom Stoppard’s Arcadia (London: Continuum, 2008), p. 71.
31. Charles Spencer, Daily Telegraph, 3 October 1997, Theatre Record, Vol. XVII, No. 20 (1997), p. 1259.
32. Nesta Jones, Brian Friel (London: Faber, 2000), pp. 156, 179–81. See also Patrick Lonergan, Theatre and Globalization: Irish Drama in the Celtic Tiger Era (Basingstoke: Palgrave Macmillan, 2010), pp. 31–55.
33. Shellard, op. cit., p. 211.
34. Michael Frayn, Copenhagen, Student edn (London: Methuen Drama, 2003), p. 73.
35. Billington, One Night Stands, p. 330.
36. Robert Butler, ‘It’ll be All Right on the Night’, Independent on Sunday, 27 March 1994.
37. Michael Coveney, The Aisle is Full of Noises: A Vivisection of the Live Theatre (London: Nick Hern, 1994), pp. 68, 67.
38. Andrew Canham, ‘Campaign for “Coriolanus”’, Letter, Independent, 12 August 1995.
39. Paul Taylor, Independent, 7 June 1995, Theatre Record, Vol. XV, No. 12 (1995), p. 752. David Edgar, Pentecost (London: Nick Hern, 1995), p. 104.
40. Edgar, Pentecost, p. 98.
41. Billington, State of the Nation, p. 340.
42. Colin Chambers, Inside the Royal Shakespeare Company: Creativity and the Institution (London: Routledge, 2004), p. 96.
43. Billington, State of the Nation, p. 343.
44. Paul Taylor, Independent, 7 September 1995, Theatre Record, Vol. XV, No. 18 (1995), p. 1206.
45. Charles Spencer, Daily Telegraph, 23 September 1998, Theatre Record, Vol. XVIII, No. 19 (1998), p. 1234.
46. Quoted in Matt Wolf, Sam Mendes at the Donmar: Stepping into Freedom (London: Nick Hern, 2002), p. 67.
47. Richard Norton-Taylor, The Colour of Justice (London: Oberon, 1999), p. 143.
48. Quoted in Aleks Sierz, ‘On a Platform of Change’, The Stage, 2 December 2004.
49. Winsome Pinnock, ‘Breaking Down the Door’, in Vera Gottlieb and Colin Chambers (eds), Theatre in a Cool Climate (Oxford: Amber Lane, 1999), p. 35.
50. Simon Trussler, The Cambridge Illustrated History of British Theatre (Cambridge: Cambridge University Press, 1994), p. 370.
51. Charles Spencer, Daily Telegraph, 19 March 1992, Theatre Record, Vol. XII, No. 5 (1992), p. 289.
52. Jatinder Verma, ‘Cultural Transformations’, in Ted Shank (ed.), Contemporary British Theatre (Basingstoke: Macmillan, 1994), pp. 59–60.
53. David Edgar, State of Play: Playwrights on Playwriting (London: Faber, 1999), p. 19.
54. Kate Harwood, ‘Introduction’, in Kate Harwood (ed.), First Run: New Plays by New Writers (London: Nick Hern, 1989), no page number.
55. Billington, One Night Stands, p. 360.
56. Dominic Dromgoole, The Full Room: An A–Z of Contemporary Playwriting, 2nd edn (London: Methuen Drama, 2002), p. 241.
57. Dan Rebellato, ‘Commentary’, Ravenhill, Shopping and Fucking; Faust is Dead; Handbag; Some Explicit Polaroids, Student edn (London: Methuen, 2001), p. xii.
58. Graham Saunders, About Kane: The Playwright and the Work (London: Faber, 2009), p. xxi.
59. Ravenhill, Shopping and Fucking, p. 66.
60. See Aleks Sierz, In-Yer-Face Theatre: British Drama Today (London: Faber, 2001).
61. Paul Taylor, Independent, 14 April 1994, Theatre Record, Vol. XIV, No. 8 (1994), p. 440; Jeremy Kingston, The Times, 19 December 1995, Theatre Record, Vol. XV, No. 25–6 (1995), p. 1717.
62. Quoted in Sarah Hemming, ‘Look Forward in Anger’, Financial Times, 18 November 1995. See also Sierz, In-Yer-Face Theatre, p. 66.
63. Simon Napier-Bell, Black Vinyl White Powder (London: Ebury, 2002), p. 390.
64. David Pattie, ‘Theatre Since 1968’, in Mary Luckhurst (ed.), A Companion to Modern British and Irish Drama 1880–2005 (Oxford: Blackwell, 2006), pp. 394–5.
65. Mike Bradwell, The Reluctant Escapologist: Adventures in Alternative Theatre (London: Nick Hern, 2010), p. 257.
66. See Philip Roberts, The Royal Court Theatre and the Modern Stage (Cambridge: Cambridge University Press, 1999), pp. 209–18.
67. Ben Payne, interview with Aleks Sierz, London, 16 April 2002.
68. Adrienne Scullion, ‘Theatre in Scotland in the 1990s and Beyond’, in Baz Kershaw (ed.), op. cit., p. 471; see also Lyn Gardner, ‘The Bold, the Old and the Obsolete’, Guardian, 27 April 2009.
69. Rebecca D’Monté and Graham Saunders, Cool Britannia? British Political Drama in the 1990s (Basingstoke: Palgrave Macmillan, 2008), p. 2.
70. Theatre Worker, ‘Encore Revivals’, Encore Theatre Magazine, 6 June 2003, http://encoretheatremagazine.blogspot.com/Revivals.html#Blue (accessed 21 January 2010).
71. Dromgoole, The Full Room, p. 189. See also Martin Middeke and Peter Paul Schnierer, ‘Introduction’, The Methuen Drama Guide to Contemporary Irish Playwrights (London: Methuen Drama, 2010).
72. Kate Kellaway, Observer, 9 April 1995, Theatre Record, Vol. XV, No. 7 (1995), p. 411.
73. Clare Wallace, Suspect Cultures: Narrative, Identity and Citation in 1990s New Drama (Prague: Litteraria Pragensia, 2006), p. 237.
74. Lonergan, Theatre and Globalization, p. 109.
75. Middeke and Schnierer, ‘Introduction’, p. xi.
76. Elaine Aston, Feminist Views on the English Stage: Women Playwrights, 1990–2000 (Cambridge: Cambridge University Press, 2003), p. 30.
77. Philip Roberts, About Churchill: The Playwright and the Work (London: Faber, 2008), p. 142.
78. Alan Sinfield, in Mireia Aragay et al. (eds), British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics (Basingstoke: Palgrave Macmillan, 2007), p. 189.
79. Nicholas de Jongh, in Aragay et al., op. cit., p. 127.
80. Quoted in Aleks Sierz, ‘Curtain Up for Act Two’, Independent, 12 February 2003.
81. Quoted in Heidi Stephenson and Natasha Langridge, Rage and Reason: Women Playwrights on Playwriting (London: Methuen Drama, 1997), pp. 28, 137.
82. Elaine Aston and Janelle Reinelt, The Cambridge Companion to Modern British Women Playwrights, 1990–2000 (Cambridge: Cambridge University Press, 2000), p. 16. See also Aston, Feminist Views, p. 5.
83. Nick Curtis, Evening Standard, 30 May 1997, Theatre Record, Vol. XVII, No. 11 (1997), p. 677; Patrick Marber, Plays One: Dealer’s Choice; After Miss Julie; Closer (London: Methuen Drama, 2004), p. 272.
84. Amelia Howe Kritzer, Political Theatre in Post-Thatcher Britain: New Writing 1995–2005 (Basingstoke: Palgrave Macmillan, 2008), p. 83.
85. See Aleks Sierz, The Theatre of Martin Crimp (London: Methuen Drama, 2006), p. 91.
86. Quoted in Ruth Little and Emily McLaughlin, The Royal Court Theatre Inside Out (London: Oberon, 2007), p. 287.
87. Quoted in Aleks Sierz, ‘The Write Stuff’, Independent, 9 April 1997.
88. Philip Roberts and Max Stafford-Clark, Taking Stock: The Theatre of Max Stafford-Clark (London: Nick Hern Books, 2007), p. xviii.
89. Pattie, ‘Theatre Since 1968’, pp. 393–4. See also Edgar, State of the Nation, pp. 27–8, 29.
90. Quoted in Gabriella Giannachi and Mary Luckhurst, On Directing: Interviews with Directors (London: Faber, 1999), p. 74.
91. Lloyd Newson, programme note, DV8, Enter Achilles, 1995.
92. Scott Graham and Steven Hoggett, The Frantic Assembly Book of Devising Theatre (Abingdon: Routledge, 2009), p. 177.
93. Baz Kershaw, The Politics of Performance: Radical Theatre as Cultural Intervention (London: Routledge, 1992), pp. 238, 239.
94. Quoted in Mark Berninger, ‘Variations of a Genre: The British History Play in the Nineties’, in Bernhard Reitz and Mark Berninger (eds), British Drama of the 1990s (Heidelberg: Universitätsverlag C Winter, 2002), p. 52.
95. David Ian Rabey, English Drama Since 1940 (Harlow: Longman, 2003), p. 85.
96. Rupert Christiansen, ‘Abuzz in Battersea’, Daily Telegraph, 3 May 2003.
97. Dominic Dromgoole, interviewed by Aleks Sierz, London, 29 March 2001.
98. Baz Kershaw, ‘Alternative Theatres, 1946–2000’, in Baz Kershaw (ed.), op. cit., p. 371.
99. See Dan Rebellato, ‘“Because It Feels Fucking Amazing”: Recent British Drama and Bodily Mutilation’, in Rebecca D’Monté and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s (Basingstoke: Palgrave Macmillan, 2008).
100. Bull, Stage Right, p. 209.
101. Ibid., p. 212; National Campaign for the Arts quoted in Billington, State of the Nation, pp. 364–5.
102. Olivia Turnbull, Bringing Down the House: The Crisis in Britain’s Regional Theatres (Bristol: Intellect, 2008), p. 13.
103. Fiachra Gibbons, ‘Curtains for Debt-Laden Theatres?’, Guardian, 28 January 2000; Turnbull, op. cit., p. 203.
104. Edgar, State of Play, p. 19.
105. Kate Dorney and Ros Merkin, ‘Introduction’ to their The Glory of the Garden: English Regional Theatre and the Arts Council 1984–2009 (Newcastle upon Tyne: Cambridge Scholars, 2010), p. 1.
106. Claire Cochrane, The Birmingham Rep: A City’s Theatre 1962–2002, p. 166.
107. Ibid., p. 179.
108. John Godber was not only a playwright but also artistic director of Hull Truck Theatre from 1984.
109. See Sierz, ‘A Postmodernist Calls’.
110. Shellard, op. cit., p. 217.
111. Adrienne Scullion, ‘Theatre in Scotland in the 1990s and Beyond’, in Baz Kershaw (ed.), op. cit., pp. 470–1.
112. Dan Rebellato, ‘Introduction’, David Greig, Plays One: Europe; The Architect; The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (London: Methuen Drama, 2002), p. xii.
113. David Greig, ‘Bard’s Poor Scottish Relation’, Herald, 14 November 1995; also quoted in Theatre Record, Vol. XV, No. 24 (1995), p. 1599.
114. David Pattie, ‘“Mapping the Territory”: Modern Scottish Drama’, in D’Monté and Saunders (eds), op. cit., p. 156.
115. Roger Owen, ‘Theatre in Wales in the 1990s and Beyond’, in Baz Kershaw (ed.), op. cit., pp. 491–2.
1. Royal Court mission statement, Mark Ravenhill, Shopping and Fucking (London: Methuen Drama, 1996), no page number.
2. Philip Ridley, ‘My Best Teacher’, Times Educational Supplement, 13 March 1998, p. 38.
3. Ibid.
4. Philip Ridley, quoted in Aleks Sierz, ‘Putting a New Lens on the World: The Art of Theatrical Alchemy’, New Theatre Quarterly, Vol. 25, No. 2 (2009), p. 110. Three of his poems are in Mike Bradwell, The Bush Theatre Book (London: Methuen Drama, 1997), pp. 75–8, and five more in his Tender Napalm playtext (London: Methuen Drama, 2011), pp. 61–9.
5. Aleks Sierz, In-Yer-Face Theatre: British Drama Today (London: Faber, 2001), p. 42.
6. Dominic Dromgoole, The Full Room: An A–Z of Contemporary Playwriting, 2nd edn (London: Methuen Drama, 2002), p. 241.
7. See Baz Kershaw, The Cambridge History of British Theatre. Volume 3, Since 1895 (Cambridge: Cambridge University Press, 2004).
8. David Ian Rabey, English Drama Since 1940 (Harlow: Longman, 2003), p. 196.
9. See Andrew Wyllie, Sex on Stage: Gender and Sexuality in Post-War British Theatre (Bristol: Intellect, 2009), pp. 77–80, and Rabey, op. cit., pp. 196–7.
10. Ken Urban, ‘Ghosts from an Imperfect Place: Philip Ridley’s Nostalgia’, p. 326.
11. Ibid.
12. Dan Rebellato, ‘Philip Ridley’, Martin Middeke, Peter Paul Schnierer and Aleks Sierz (eds), The Methuen Drama Guide to Contemporary British Playwrights (London: Methuen Drama, 2011), pp. 426, 441.
13. Dromgoole, op. cit., p. 240.
14. Quoted in Sierz, ‘Putting a New Lens on the World’, p. 111.
15. Philip Ridley, Plays One: The Pitchfork Disney; The Fastest Clock in the Universe; Ghost from a Perfect Place (London: Faber, 2002), p. 5. Page references to plays are to this edition. Malcolm de Chazal (1902–81) was a Mauritian polymath.
16. Maureen Paton, Daily Express, 8 January 1991; Nicholas de Jongh, Guardian, 8 January 1991, Theatre Record, Vol. XI, No. 1 (1991), pp. 11, 12.
17. Paul Taylor, Independent, 7 January 1991, Theatre Record, Vol. XI, No. 1 (1991), p. 13.
18. This image of a cloud might be an unconscious echo of the sinister cloud in one of Ridley’s favourite sci-fi books, Christopher Priest’s The Glamour (Orion, 2005; orig. pub. 1984), p. 55.
19. John Walliss, ‘Apocalypse at the Millennium’, in John Walliss and Kenneth G. C. Newport, The End All Around Us: Apocalyptic Texts and Popular Culture (London: Equinox, 2009), p. 76.
20. James Berger, After the End: Representations of Post-Apocalypse (Minneapolis: University of Minnesota Press, 1999), p. 11.
21. Urban, op. cit., p. 328.
22. Ibid.
23. Ibid., p. 331.
24. Ibid., p. 326.
25. Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction, 2nd edn (New York: Oxford University Press, 2000), p. 182.
26. Robert Bloch quoted in David Stevens, The Gothic Tradition, p. 32. See Sierz, ‘Putting a New Lens on the World’, p. 117.
27. Quoted in Sierz, In-Yer-Face Theatre, p. 43.
28. Charles Osborne, Daily Telegraph, 10 January 1991, Theatre Record, Vol. XI, No. 1 (1991), p. 12.
29. Alastair Macaulay, Financial Times, 7 January 1991, Theatre Record, Vol. XI, No. 1 (1991), p. 13.
30. In the early 1970s, Peter Cook terrorised women in Cambridge, wearing a leather mask; he was convicted in 1975.
31. Mary Douglas, Purity and Danger: An Analysis of the Concepts of Pollution and Taboo (London: Routledge & Kegan Paul, 1978), p. 40.
32. Quoted in Andrew Smith, Gothic Literature (Edinburgh: Edinburgh University Press, 2007), p. 15.
33. Charles Osborne, Daily Telegraph, 10 January 1991; Jane Edwardes, Time Out, 9 January 1991, Theatre Record, Vol. XI, No. 1 (1991), pp. 12, 14.
34. Bloom quoted in Stevens, op. cit., p. 6.
35. Stevens, op. cit., pp. 25, 32.
36. Quoted in Adam Roberts, Science Fiction (New Critical Idiom), 2nd edn (London: Routledge, 2006), p. 18.
37. Rabey, op. cit., p. 196.
38. John Gross, Sunday Telegraph, 24 May 1992, Theatre Record, Vol. XII, No. 10 (1992), p. 612.
39. Urban, op. cit., p. 331.
40. Lee Levitt, Jewish Chronicle, 29 May 1992, Theatre Record, Vol. XII, No. 10 (1992), p. 612.
41. Dick Pountain and David Robins, Cool Rules: Anatomy of an Attitude (London: Reaktion, 2000), pp. 23, 165.
42. Nicholas de Jongh, Evening Standard, 20 May 1992, Theatre Record, Vol. XII, No. 10 (1992), p. 612.
43. Kate Kellaway, Observer, 24 May 1992, Theatre Record, Vol. XII, No. 10, (1992), p. 611.
44. Rebellato, ‘Philip Ridley’. See Wolfgang Kayser, The Grotesque in Art and Literature, trans. Ulrich Weisstein (Bloomington: Indiana University Press, 1963), pp. 184–5.
45. Ian Shuttleworth, City Limits, 28 May 1992, Theatre Record, Vol. XII, No. 10, (1992), p. 611.
46. Philip Ridley, The Fastest Clock in the Universe, rev. edn (London: Methuen Drama, 2009), p. 95.
47. Clive Bloom, Gothic Histories: The Taste for Terror, 1764 to the Present (London: Continuum, 2010), p. 3.
48. Urban, op. cit., p. 336.
49. Berger, op. cit., p. 19.
50. Urban, op. cit., pp. 333, 335. See also Roberts, op. cit., p. 26.
51. Maureen Paton, Daily Express, 15 April 1994, Theatre Record, Vol. XIV, No. 8 (1994), p. 444.
52. Jeremy Kingston, The Times, 14 April 1994, Theatre Record, Vol. XIV, No. 8 (1994), p. 439. Urban, op. cit., p. 340.
53. See Hirst’s Mother and Child, Divided and The Physical Impossibility of Death in the Mind of Someone Living.
54. Paul Taylor, Independent, 14 April 1994, Theatre Record, Vol. XIV, No. 8 (1994), p. 440.
55. Rebellato, ‘Philip Ridley’, p. 428.
56. Rabey, op. cit., p. 196.
57. Jeremy Kingston, The Times, 14 April 1994, Theatre Record, Vol. XIV, No. 8 (1994), p. 439.
58. Wyllie, op. cit., p. 80.
59. Berger, op. cit., p 26.
60. Fred Botting, Gothic (New Critical Idiom) (London: Routledge, 1995), p. 157.
61. Urban, op. cit., p. 341.
62. Ibid.
63. James Christopher, Time Out, 20 April 1994, Theatre Record, Vol. XIV, No. 8 (1994), p. 444.
64. Quoted in Sierz, In-Yer-Face Theatre, p. 45.
65. Mark Gatiss, A History of Horror with Mark Gatiss, Part One, BBC4 TV, 11 October 2010.
66. Quoted in Sierz, ‘Putting a New Lens on the World’, p. 111.
67. Wyllie, op. cit., p. 78.
68. Steven Connor, Postmodernist Culture: An Introduction to Theories of the Contemporary (Oxford: Blackwell, 1989), p. 90.
69. Botting, op. cit., p. 157.
70. Smith, op. cit., pp. 141, 163.
71. Kenneth Hurren, Mail on Sunday, 6 January 1991; Charles Spencer, Daily Telegraph, 21 May 1996, Theatre Record, Vol. XI, No. 1 (1991), p. 11 and Vol. XVI, No. 11 (1996), p. 653.
72. John A. Walker, Art and Outrage: Provocation, Controversy and the Visual Arts (London: Pluto, 1999), pp. 149–64. The Pitchfork Disney puts Mickey Mouse figures on the bodies of his victims (pp. 83–4) and one of Miss Sulphur’s lipstick colours is called ‘Crushed Foetus’ (270).
73. Quoted in Sierz, ‘Putting a New Lens on the World’, p. 111 and in Sierz, In-Yer-Face Theatre, p. 47.
74. Thanks to Cath Badham for this information, and for copies of the programmes.
75. Bloom, op. cit., p. 4.
76. See Dan Rebellato, ‘Introduction’, Mark Ravenhill, Plays One: Shopping and Fucking; Faust is Dead; Handbag; Some Explicit Polaroids (London: Methuen Drama, 2001), pp xiv–xvi.
77. Smith, op. cit., p. 15.
1. David Greig, ‘Introduction’, Kane, Complete Plays (London: Methuen Drama, 2001), p. xviii. Page references to plays are to this edition.
2. Quoted in Graham Saunders, About Kane: The Playwright and the Work (London: Faber, 2009), p. 124.
3. Mary Luckhurst, ‘Infamy and Dying Young: Sarah Kane, 1971–1999’, in Mary Luckhurst and Jane Moody (eds), Theatre and Celebrity in Britain, 1600–2000 (Basingstoke: Palgrave, 2005), p. 120.
4. Aleks Sierz, ‘“We All Need Stories”: The Politics of In-Yer-Face Theatre’, in Rebecca D’Monté and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s (Basingstoke: Palgrave, 2008), p. 32.
5. Aleks Sierz, In-Yer-Face Theatre: British Drama Today (London: Faber, 2001), pp. xiii and 5.
6. Lauren De Vos and Graham Saunders, ‘Introduction’, Sarah Kane in Context (Manchester: Manchester University Press, 2010), p. 1.
7. Christopher Innes, Modern British Drama: The Twentieth Century (Cambridge: Cambridge University Press, 2002), p. 529; Billington quoted in Sierz, In-Yer-Face Theatre, p. 96. See also Theatre Record, Vol. XV, No. 1/2 (1995), pp. 38–43.
8. Eckart Voigts-Virchow, ‘“We are Anathema”: Sarah Kane’s Plays as Postdramatic Theatre versus the “Dreary and Repugnant Tale of the Sense”’, in De Vos and Saunders (eds), op. cit. (Manchester: Manchester University Press, 2010), p. 198.
9. Sierz, In-Yer-Face Theatre, p. 93.
10. Aleks Sierz, ‘“We’re All Bloody Hungry”: Images of Hunger and the Construction of the Gendered Self in Sarah Kane’s Blasted’, in Elisabeth Angel-Perez and Alexandra Poulain (eds), Hunger on the Stage (Newcastle: Cambridge Scholars, 2008), p. 274.
11. Innes, op. cit., p. 532.
12. Luckhurst, op. cit., p. 107; quoted in Heidi Stephenson and Natasha Langridge, Rage and Reason: Women Playwrights on Playwriting (London: Methuen Drama, 1997), p. 132.
13. Steve Waters, ‘Sarah Kane: From Terror to Trauma’, in Mary Luckhurst (ed.), A Companion to Modern British ans Irish Drama (Oxford: Blackwell, 2006), p. 377.
14. Quoted in Saunders, About Kane, p. 90.
15. Quoted in Sierz, In-Yer-Face Theatre, p. 101.
16. Michael Billington, State of the Nation: British Theatre Since 1945 (London: Faber, 2007), p. 356.
17. Quoted in Stephenson and Langridge, op. cit., p. 134.
18. Elaine Aston, ‘Reviewing the Fabric of Blasted’, in De Vos and Saunders (eds), op. cit., p. 14.
19. Quoted in Stephenson and Langridge, op. cit., p. 133.
20. David Ian Rabey, English Drama Since 1940 (Harlow: Longman, 2003), p. 195.
21. Elaine Aston, Feminist Views on the English Stage, p. 84.
22. Aston, ‘Reviewing the Fabric of Blasted’, pp. 22, 25.
23. Sierz, In-Yer-Face Theatre, p. 30.
24. See Aston, Feminist Views; Christopher Wixson, ‘“In Better Places”: Space, Identity, and Alienation in Sarah Kane’s Blasted’, Comparative Drama, Vol. 39, No. 1 (2005), pp. 75–91; and Annabelle Singer, ‘Don’t Want to be This: The Elusive Sarah Kane’, Drama Review, Vol. 48, No. 2 (2004), pp. 139–71.
25. Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (Oxford: Oxford University Press, 1985), pp. 28, 27.
26. Ibid., p. 41.
27. Ibid., p. 38.
28. Ibid., p. 54.
29. Ibid., p. 36.
30. Peter Buse, Drama + Theory: Critical Approaches to Modern British Drama (Manchester: Manchester University Press, 2001), p. 178.
31. Ibid., p. 180.
32. Ibid., p. 182.
33. Scarry, op. cit., pp. 4, 5 and 6.
34. Ken Urban, ‘An Ethics of Catastrophe: The Theatre of Sarah Kane’, A Journal of Performance and Art, Vol. 23, No. 3 (2001), p. 45.
35. Aleks Sierz, ‘“Looks Like There’s a War On”: Sarah Kane’s Blasted, Political Theatre and the Muslim Other’, in De Vos and Saunders (eds), op. cit. (Manchester: Manchester University Press, 2010), p. 56.
36. Saunders, op. cit., p. 74.
37. Quoted in Saunders, op. cit., p. 93.
38. Urban, op. cit., p. 42.
39. Quoted in Urban, op. cit., p. 39.
40. Mark Ravenhill, Plays One: Shopping and Fucking; Faust is Dead; Handbag; Some Explicit Polaroids (London: Methuen Drama, 2001), p. 66.
41. Scarry, op. cit., p. 49.
42. Scarry, op. cit., p. 42.
43. Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (Harmondsworth: Penguin, 1991), p. 12.
44. Ibid., pp. 202–3.
45. Ibid., p. 175.
46. Ibid., p. 200.
47. Ibid., p. 25.
48. Judith Butler, Precarious Life: The Powers of Mourning and Violence (London: Verso, 2004), p. 26.
49. Ibid., p. 22.
50. Sanja Nikcevic, ‘British Brutalism, the “New European Drama”, and the Role of the Director’, New Theatre Quarterly, Vol. 21, No. 3 (2005), p. 264.
51. Hillary Chute, ‘“Victim. Perpetrator. Bystander”: Critical Distance in Sarah Kane’s Theatre of Cruelty’, in De Vos and Saunders (eds), op. cit. (Manchester: Manchester University Press, 2010), p. 171.
52. Hans-Thies Lehmann, Postdramatic Theatre, trans. Karen Jürs-Munby (London: Routledge, 2006), p. 178.
53. Ibid., p. 187.
54. Quoted in Stephenson and Langridge, op. cit., p. 130.
55. Michael Billington, Guardian, 30 June 2000, Theatre Record, Vol. XX, No. 13 (2000), p. 829.
56. Sarah Gorman, ‘The Mythology of Sarah Kane: How to Avoid Reading 4.48 Psychosis as a Suicide Note’, Anglophiles: Journal of English Teaching, No. 126 (2002), p. 37.
57. Ibid., p. 36.
58. See, for example, ibid., p. 35, Ken Urban, op. cit., p. 36, and Sierz quoted in Saunders, op. cit., p. 125.
59. Ehran Fordyce, ‘The Voice of Kane’, in De Vos and Saunders (eds), op. cit., p. 112.
60. Alicia Tycer, ‘“Victim. Perpetrator. Bystander”: Melancholic Witnessing of Sarah Kane’s 4.48 Psychosis’, Theatre Journal, Vol. 60 (2008), p. 31.
61. Elizabeth Kuti, ‘Tragic Plots from Bootle to Baghdad’, Contemporary Theatre Review, Vol. 18, No. 4 (2008), p. 468.
62. Lehmann, op. cit., p. 55.
63. For example, Kuti, Gorman, Voigts-Virchow and Gritzner.
64. Lehmann, op. cit., p. 48.
65. Lehmann, op. cit., p. 163.
66. Urban, op. cit., p. 44
67. David Barnett, ‘When is a Play Not a Drama? Two Examples of Postdramatic Theatre Texts’, New Theatre Quarterly, Vol. 24, No. 1 (2008), p. 16.
68. Voigts-Virchow, op. cit., p. 203 and Karoline Gritzner, ‘(Post)Modern Subjectivity and the New Expressionism: Howard Barker, Sarah Kane, and Forced Entertainment’, Contemporary Theatre Review, Vol. 18, No. 3 (2008), p. 340.
69. Quoted in Saunders, op. cit., p. 95.
70. Quoted in Saunders, op. cit., p. 128.
71. Aleks Sierz, ‘Still In-Yer- Face? Towards a Critique and a Summation’, New Theatre Quarterly, Vol. 18, No. 1 (2002), pp. 19–20.
72. Voigts-Virchow, op. cit., p. 195, and Saunders, op. cit., p. 38.
73. Saunders, op. cit., p. 66.
74. Rabey, op. cit., p. 175.
75. Rabey, op. cit., p. 233.
76. Quoted in Saunders, op. cit., p. 129.
77. Quoted in Saunders, op. cit., p. 62.
78. Billington, State of the Nation, p. 355. See also Theatre Record, Vol. XXI, No. 7 (2001), pp. 418–23.
79. Kuti, op. cit., p. 458.
1. Adrienne Scullion, ‘Theatre in Scotland in the 1990s and Beyond’, in Baz Kershaw (ed.), The Cambridge History of British Theatre: Volume 3. Since 1895 (Cambridge: Cambridge University Press, 2004), p. 484.
2. Ibid.
3. For reference to Neilson as a specifically Scottish artist see Adrienne Scullion, ‘Devolution and Drama: Imagining the Possible’, in Berthold Schoene (ed.), The Edinburgh Companion to Contemporary Scottish Literature (Edinburgh: Edinburgh University Press, 2007), p. 74; Ian Brown, ‘Alternative Sensibilities: Devolutionary Comedy and Scottish Camp’, Schoene (ed.), op. cit. (Edinburgh: Edinburgh University Press, 2007), pp. 323–4 and Trish Reid, ‘“Deformities of the Frame”: The Theatre of Anthony Neilson’, in Contemporary Theatre Review, Vol. 17, No. 4 (2007), pp. 487–98.
4. Aleks Sierz, In-Yer-Face Theatre: British Drama Today (London: Faber, 2001), p. 4.
5. Stephen Daldry, in Mireia Aragay et al., British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics (Basingstoke: Palgrave Macmillan, 2007), p. 9.
6. Rebecca D’Monté and Graham Saunders, Cool Britannia? British Political Drama in the 1990s (Basingstoke: Palgrave Macmillan, 2008), p. 12.
7. David Lane, Contemporary British Drama (Edinburgh: Edinburgh University Press, 2010), p. 25.
8. Aleks Sierz, ‘Blasted and After: New Writing in British Theatre Today’, ‘New Writing Special’, Theatrevoice website, 16 February 2010, www.theatrevoice.com/listen_now/player/?audioID=819.
9. Anthony Neilson, personal interview. The moment in The Censor is the onstage defecation scene.
10. See Scullion, ‘Devolution and Drama’, Schoene (ed.), op. cit., p. 74; Brown, ‘Alternative Sensibilities’, Schoene (ed.), op. cit., pp. 323–4, Reid, ‘“Deformities of the Frame”’ and Kathleen Starck, ‘Battlefield “Body”: Gregory Burke’s Gagarin Way and Anthony Neilson’s Stitching’, in Hans-Ulrich Mohr and Kerstin Mächler (eds), Extending the Code: New Forms of Dramatic and Theatrical Expression (Trier: Wissenschaftlicher Verlag Trier, 2004).
11. Patrick Marmion, What’s On in London, 13 October 1993, Theatre Record, Vol. XIII, No. 21 (1993), p. 1151.
12. Alastair Galbraith, personal interview.
13. David Harrower and David Greig, ‘Why a New Scotland Must Have a Properly Funded Theatre’, Scotsman, 25 November 1997.
14. Anthony Neilson, ‘Introduction’, Plays Two: Edward Gant’s Amazing Feats of Loneliness!; The Lying Kind; The Wonderful World of Dissocia; Realism (London: Methuen Drama, 2008), p. x.
15. Charles Spencer, Daily Telegraph, 16 June 2008; Paul Taylor, Independent, 17 June 2008, Theatre Record, Vol. XXVIII, No. 12 (1993), p. 689.
16. Neilson, personal interview.
17. Page references to plays are to Plays One: Normal; Penetrator; Year of the Family; The Night Before Christmas; The Censor (London: Methuen Drama, 1998).
18. Neilson, personal interview.
19. Joyce McMillan, Guardian, 13 August 1991, Theatre Record, Vol. XI, No. 20 (1991), p. 1222.
20. Quoted in Sierz, In-Yer-Face Theatre, p. 72.
21. Omer Ali, Scotsman, 12 August 1991, Theatre Record, Vol. XI, No. 20 (1991), p. 1222.
22. Sierz, In-Yer-Face Theatre, p. 69.
23. McMillan, op. cit. See Reid, ‘“Deformities of the Frame”’, p. 495.
24. Ian Shuttleworth, City Limits, 3 October 1991, Theatre Record, Vol. XI, No. 20 (1991), p. 1222.
25. See also Jeremy Kingston, The Times, 4 October 1991, and Jo Graham, What’s On in London, 9 October 1991, Theatre Record, Vol. XI, No. 20 (1991), p. 1222.
26. Sierz, In-Yer-Face Theatre, p. 71.
27. Ernst Toller, ‘My Works’, trans. Marketa Goetze, Tulane Drama Review, No. 3 (March 1959), p. 100.
28. Peggy Phelan, Unmarked: The Politics of Performance (London: Routledge, 1993), p. 4.
29. Marmion, op. cit.
30. Robert Shore identified the play’s theme, in reference to a 2003 revival, as ‘the big 1990s theme of masculinity in crisis’. Time Out, 3 December 2003, Theatre Record, Vol. XXIII, No. 24 (2003), p. 1601.
31. Bethan Benwell, ‘Is There Anything New About These Lads’, in Lia Litosseliti and Jane Sutherland (eds), Gender Identity and Discourse Analysis (Amsterdam: John Benjamins, 2002), p. 151.
32. Elaine Aston, Feminist Views on the English Stage: Women Playwrights, 1990–2000 (Cambridge: Cambridge University Press, 2003), p. 5.
33. Ibid., p. 80. Similarly, Patrick Marmion recalls feeling ‘nauseated by the experience’ (Marmion, op. cit.).
34. Benedict Nightingale, The Times, 17 August 1993, Theatre Record, Vol. XIII, No. 21 (1993), p. 1151.
35. Caroline Donald, Scotsman, 16 August 1993. Both Claire Armitstead in the Guardian and Nicholas de Jongh in the Evening Standard expressed concerns about the play’s homophobia, Theatre Record, Vol. XIII, No. 21 (1993), p. 1151 and Vol. XIV, No. 1 (1994), p. 38.
36. See Brown, ‘Alternative Sensibilities’ for a fuller discussion of the subversive potential of shifting linguistic registers in contemporary Scottish drama.
37. Specifically, this construction recalls Spanky Farrell’s reference to ‘Kris Kris-fuckin-stoffersen’ in John Byrne’s Still Life (1982) (The Slab Boys Trilogy (Harmondsworth: Penguin, 1987), p. 114).
38. Still Game was produced by the Comedy Unit with the BBC, 2002–7. It won the BAFTA Scotland award for best entertainment programme in 2004 and 2005.
39. See Sierz, In-Yer-Face-Theatre, pp. 76–7.
40. Dan Rebellato, ‘“Because It Feels Fucking Amazing”: Recent British Drama and Bodily Mutilation’, in Rebecca D’Monté and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s (Basingstoke: Palgrave Macmillan, 2008), p. 204.
41. Galbraith, op. cit.
42. ‘The Censor’, Ebb and Flow Theatre website, 2010, http://thecensorchicago.com.
43. See ‘Press’, ‘News/Events’, Patrick Jones website, 2008–9, www.patrick-jones.net.
44. Quoted in Matt Thomas, ‘Faction Collective Bring The Censor to Cardiff’, WalesOnline.co.uk, 11 September 2009, www.walesonline.co.uk/showbiz-and-life-style/2009/09/11/faction-collective-bring-the-censor-to-cardiff-91466-24658089/.
45. Neilson quoted in Sierz, In-Yer-Face Theatre, p. 84.
46. Charles Spencer, Daily Telegraph, 10 June 1997, Theatre Record, Vol. XVII, No. 12 (1997), p. 712.
47. Galbraith, op. cit.
48. Christopher Innes, Avant-Garde Theatre, 1892–1992 (London: Routledge, 1993), p. 37.
49. Neilson, personal interview.
50. For Peter Marks, the actors in the first New York production struggled ‘valiantly to make something true out of their sick seduction’ but were ‘defeated by a playwright who can’t keep his mind out of the toilet’ (New York Times, 29 April 1999).
51. Erin Hurley, Theatre & Feeling (Basingstoke: Palgrave Macmillan, 2010), p. 13.
52. Galbraith, op. cit.
53. Dominic Dromgoole, The Full Room: An A–Z of Contemporary Playwriting, 2nd edn (London: Methuen Drama, 2002), p. 216.
54. Michael Coveney, Daily Mail, 13 June 1997, Theatre Record, Vol. XVII, No. 12 (1997), p. 713.
55. Charles Taylor, Sources of the Self: The Making of the Modern Identity (Cambridge, MA: Harvard University Press, 1989), p. 157.
56. Ruth Little and Emily McLaughlin, The Royal Court Theatre Inside Out (London: Oberon, 2007), p. 360.
57. Neil Smith, What’s On in London, 11 June 1997; Caroline Donald, Scotsman, 16 August 1993, Theatre Record, Vol. XVII, No. 12 (1997), p. 712.
58. Margaret Thatcher, Woman’s Own, 31 October 1987.
59. Amelia Howe Krizter, Political Theatre in Post-Thatcher Britain: New Writing 1995–2005 (Basingstoke: Palgrave Macmillan, 2008), p. 30.
60. Vera Gottlieb, ‘1979 and After: A View’, in Kershaw (ed.), op. cit., p. 413.
61. See David Pattie, ‘“Mapping the Territory”: Modern Scottish Drama’, in D’Monté and Saunders (eds), op. cit. (Basingstoke: Palgrave Macmillan, 2008).
62. Adrienne Scullion, ‘Self and Nation: Issues of Identity in Modern Scottish Drama by Women’, New Theatre Quarterly, Vol. 17, No. 4 (2001), p. 374.
63. Quoted in Brown, ‘Alternative Sensibilities’, in Schoene (ed.), op. cit., pp. 322–3 and Sierz, In-Yer-Face Theatre, p. 65.
1. Stephen Daldry, no title, Evening Standard, 20 February 1997.
2. See Aleks Sierz, In-Yer-Face Theatre: British Drama Today (London: Faber, 2001), pp. 122–52.
3. Dan Rebellato, ‘Introduction’, Mark Ravenhill, Plays One: Shopping and Fucking; Faust is Dead; Handbag; Some Explicit Polaroids (London: Methuen Drama, 2001), p. x. Page references to the plays are to this edition, unless otherwise stated, and to its companion, Plays Two.
4. Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge (Manchester: Manchester University Press, 1979), pp. xxiv, 37.
5. Michael Billington, ‘Events Following’, Guardian, 27 February 1976.
6. Dominic Dromgoole, The Full Room: An A–Z of Contemporary Playwriting (London: Methuen Drama, 2002), p. 237
7. Clare Wallace, Suspect Cultures: Narrative, Identity and Citation in 1990s New Drama (Prague: Litteraria Pragensia, 2006), p. 129; Vera Gottlieb, ‘Lukewarm Britannia’, in Vera Gottlieb and Colin Chambers (eds), Theatre in a Cool Climate (Oxford: Amber Lane, 1999), pp. 210–12.
8. See Peter Ansorge, From Liverpool to Los Angeles: On Writing for Theatre, Film and Television (London: Faber, 1997); Wallace, op. cit., pp. 85–130; Gottlieb, ‘Lukewarm Britannia’, op. cit., and Vera Gottlieb ‘Theatre Today: the “New Realism”’, Contemporary Theatre Review, Vol. 13, No. 1 (2003), pp. 5–14.
9. Christopher Shinn, ‘Introduction’, Plays One: Other People; The Coming World; Where Do We Live: Dying City (London: Methuen Drama, 2007), p. vii.
10. Rebellato, op. cit., p. x.
11. Sierz, In-Yer-Face Theatre, pp. 125–6.
12. Mark Ravenhill, Shopping and Fucking; Faust is Dead; Handbag; Some Explicit Polaroids (1996 edition) (London: Methuen Drama, 2001), pp. 73–4.
13. Dominic Shellard, British Theatre Since the War (New Haven: Yale University Press, 1999), p. 198; Philip Roberts and Max Stafford-Clark, Taking Stock: The Theatre of Max Stafford-Clark (London: Nick Hern Books, 2007), p. 197.
14. Rebellato, op. cit., p. x.
15. Ruth Little and Emily McLaughlin, The Royal Court Theatre Inside Out (London: Oberon, 2007), p. 352.
16. Ibid., p. 354.
17. Ibid., p. 353.
18. Ibid., p. 355.
19. Rebellato, op. cit., p. xii.
20. Little and McLaughlin, op. cit., p. 355; David Edgar, State of Play: Playwrights on Playwriting (London: Faber, 1999), p. 29.
21. Edward Bond, letter to Graham Saunders, 23 February 2001.
22. Sierz, In-Yer-Face Theatre, p. 125.
23. Ibid., p. 151.
24. Nicholas de Jongh, Not in Front of the Audience: Homosexuality on Stage (London: Routledge, 1992), p. 2.
25. Dan Rebellato, op. cit., pp. xii–xiii.
26. Mireia Aragay et al., British Theatre of the Nineties: Interviews with Directors, Playwrights, Critics and Academics (Basingstoke: Palgrave Macmillan, 2007), p. 95.
27. Wallace, Suspect Cultures, p. 114.
28. Mark Ravenhill, ‘A Tear in the Fabric: the James Bulger Murder and New Theatre Writing in the Nineties’, New Theatre Quarterly, Vol. 20, No. 4 (2004), p. 312.
29. See David Ian Rabey, English Drama Since 1940 (Harlow: Longman, 2003), p. 203; Aleks Sierz, ‘In-Yer-Face Theatre: Mark Ravenhill in the 1990s’, in Bernhard Reitz and Mark Berninger (eds), British Drama of the 1990s (Heidelberg: Universitätsverlag C Winter, 2002), pp. 123–35.
30. Roberts and Stafford-Clark, Taking Stock, p. 209. Sierz also observes that the play was the first ‘that really connects to a deep and painfully emotional core’ (In-Yer-Face Theatre, p. 147).
31. For a detailed account of the production history see Roberts and Stafford-Clark, Taking Stock, pp. 196–216.
32. Rebellato, op. cit., p. x.
33. Steve Blandford, Film, Drama and the Break-Up of Britain (Bristol: Intellect, 2007), p. 120.
34. See Mark Ravenhill, ‘A Touch of Evil’, Guardian, 22 March 2003.
35. Blandford, op. cit., p.119.
36. Ibid.
37. Rebellato, op. cit., p. ix.
38. Rabey, op. cit., p. 201.
39. Rebellato, op. cit., p. xii.
40. Aragay et al, op. cit., p. 102.
41. Jarrod Hayes, ‘Queer Resistance to (Neo-)Colonialism in Algeria’, in J. C. Hawley (ed.), Post-colonial, Queer: Theoretical Intersections (Albany, NY: State University of New York Press, 2001), p. 94.
42. Roberts and Stafford-Clark, op. cit., p. 216.
43. See Graham Saunders, About Kane: The Playwright and the Work (London: Faber, 2009), pp. 47–8; Ravenhill in ‘Reputations: Edward Bond’, theatreVOICE website, 11 March 2005, www.theatrevoice.com/listen_now/player/?audioID=283.
44. Aragay et al., op. cit., p. 99.
45. Aragay et al., op. cit., p. 101.
46. Aragay et al., op. cit., pp. 91–2.
47. Aragay et al., op. cit., p. 125.
48. Ibid.
49. Alan Sinfield, Gay and After (London: Serpent’s Tail, 1998), p. 192.
50. Judith Butler, ‘Critically Queer’, in Shane Phelan (ed.), Playing with Fire: Queer Politics, Queer Theories (London: Routledge, 1997), p. 21.
51. Butler, op. cit., p, 23.
52. Michael Warner, ‘Introduction: Fear of a Queer Planet’, Sexual Text, No. 29 (1991), pp. 3–17.
53. Eve Kosofsky Sedgwick, ‘Shame, Theatricality, and Queer Performativity: Henry James’s The Art of the Novel’, in David M. Halperin and Valerie Traub (eds), Gay Shame (Chicago, IL: University of Chicago Press, 2009), p. 61.
54. Sierz, ‘In-Yer Face Theatre: Mark Ravenhill in the 1990s’, p. 117.
55. Leo Bersani, ‘Homos’, in Donald Morton (ed.), The Material Queer: a LesBiGay Cultural Studies Reader (Boulder, CO: Westview Press, 1996), p. 227.
56. Aragay et al., op. cit., p. 125.
57. Shellard, op. cit., p. 197; Sarah Jane Dickenson, ‘Fear of the Queer Citizen: From Canonisation to Curriculum in the Plays of Mark Ravenhill’, in Dimple Godiwala (ed.), Alternatives within the Mainstream II: Queer Theatres in Post-War Britain (Cambridge: Cambridge Scholars Publishing, 2007), p. 124.
58. Kevin Elyot, My Night with Reg (London: Nick Hern, 1997), p. 5.
59. See Sierz, In-Yer-Face Theatre, p. 123.
60. Aragay et al., op. cit., p. 45.
61. Donald Morton, ‘Changing the Terms: (Virtual) Desire and (Actual) Reality’, in Morton (ed.), op. cit. (Boulder, CO: Westview Press, 1996), p. 14.
62. Wallace, op. cit., pp. 88, 93.
63. Jonathan Croall, Inside the Molly House: The National Theatre at Work (London: National Theatre Publications, 2001), p. 45.
64. Croall, op. cit., p. 71.
65. See Sierz, In-Yer-Face Theatre, p. 129; Peter Billingham, At the Sharp End: Uncovering the Work of Five Leading Dramatists (London: Methuen Drama, 2007), p. 126.
66. Patrice Pavis, ‘Ravenhill and Durringer, the Entente Cordiale Misunderstood’, trans. David Bradby, Contemporary Theatre Review, vol. 14, no. 2 (2004), p. 6.
1. A recording of this event is available (2010): www.rhul.ac.uk/dramaandtheatre/research/researchgroups/politicalcurrentsinrecentbritishtheatre/sarahkane.aspx
2. Bill Buford, Among the Thugs (London: Arrow, 1992).
1. Anthony Neilson, ‘Dramatic Moments’, Guardian, 11 September 1996.
2. James Christopher, ‘Inside Story’, Time Out, 5–12 January 1994.
3. Al Senter, ‘Curtain Call: On Anthony Neilson’, What’s On in London, 26 April 1995.
4. Sarah Hemming, ‘Look Forward in Anger’, Financial Times, 18 November 1995, reprinted in Theatre Record, Vol. XV, Issue 22 (1995), p. 1471.
5. Kate Stratton, ‘Censor Sensibility’, Time Out, 4–11 June 1997.
6. Anthony Neilson, ‘Foreword’, The Wonderful World of Dissocia/Realism (Methuen Drama, 2007).
7. Anthony Neilson, ‘Don’t be So Boring’, Guardian, 21 March 2007.
1. A full transcript of ‘A Tear in the Fabric’ is published in New Theatre Quarterly, Vol. 20, No. 4 (November 2004), pp. 305–14. For a report on the Goldsmiths lecture see Aleks Sierz, ‘Hearts of Darkness’, Financial Times Magazine, 10 July 2004.
2. Mark Fyfe, Asher: A Novel (Marion Boyars, 1997).
1. Sarah Kane, Complete Plays: Blasted; Phaedra’s Love; Cleansed; Crave; 4.48 Psychosis; Skin (London: Methuen Drama, 2001), pp. 244–5.
2. Lyn Gardner, Guardian, 20 February 2008, Theatre Record, Vol. XXVIII, No. 4 (2008), p. 193.
3. Kane, Complete Plays, p. 103.
4. Hans-Thies Lehmann, Postdramatic Theatre, trans. Karen Jürs-Munby (London: Routledge, 2006), p. 18. This difference in practice surely casts doubt on the modish assimilation of Kane into the category of the postdramatic.
5. Graham Saunders, About Kane: The Playwright and the Work (London: Faber, 2009), p. 2; see also pp. 123–7.
6. ‘Sarah Kane Special’, theatreVOICE website, 8 November 2010, www.theatrevoice.com/listen_now/player/?audioID=923.
7. Simon Stephens, personal interview with Aleks Sierz, London, 11 June 2004.
8. Charles Spencer, Daily Telegraph, 4 March 2005; John Gross, Sunday Telegraph, 13 March 2005; Michael Billington, Guardian, 4 March 2005, Theatre Record, Vol. XXV, No. 5 (2005), pp. 279–81.
9. Anthony Neilson, ‘Foreword’, The Wonderful World of Dissocia/Realism (London: Methuen Drama, 2008), no page number.
10. David Lane, Contemporary British Drama (Edinburgh: Edinburgh University Press, 2010), p. 89.
11. Ibid., p. 90.
12. Richard Bean, ‘Debate: New Writing (1/2)’, theatreVOICE website, 28 May 2004, www.theatrevoice.com/listen_now/player/?audioID=169.
13. Peter Billingham, At the Sharp End: Uncovering the Work of Five Leading Dramatists (London: Methuen Drama, 2007), p. 134.
14. Mark Ravenhill, Plays Two: Mother Clap’s Molly House; Product; The Cut; Citizenship; pool (no water) (London: Methuen Drama, 2008), p. 155.
15. Ibid., p. 199.
16. Mark Ravenhill, ‘Confessions of a Panto-lover’, Guardian, 28 November 2006.
17. Mark Ravenhill, ‘Introduction’, Shoot/Get Treasure/Repeat (London: Methuen, 2008), p. 5.
18. Alan Bennett, The History Boys (London: Faber, 2004), p. 74.
19. Michael Billington, ‘A Little Blood Goes a Long Way’, Guardian, 20 April 1994; Matthew Lloyd, ‘The Cost of Cruelty’, Guardian, 23 April 1994; Jenny Topper, ‘Pushing the Barrier’, Guardian, 23 April 1994.