After In-Yer-Face Theatre

Chapter 1 Introduction: Reflections on In-Yer-Face from the Other Side of the Atlantic

Chapter 2 “In the Pursuit of New Writers”: The Royal Court Young Peoples’ Theatre and the Development of First-Time Playwrights in the 1990s

Chapter 3 “A Shop Window for Outrage”: Harold Pinter’s Ashes to Ashes, In-Yer Face Theatre and the Royal Court’s 1996 West End Season

Chapter 4 “The Last Rolo”: Love, Conflict and War in Anthony Neilson’s Penetrator

Chapter 5 Mark Ravenhill’s Dialectical Emotions: In-Yer-Face as Post-Brechtian Theater

Chapter 6 Undressing Sarah Kane: A Portuguese Perspective on In-Yer-Face

Chapter 7 Russian “In-Yer-Face Theatre” as a Problem or a Process

Chapter 8 Surfing the Wave of In-Yer-Face Theatre on Australian Shores

Chapter 9 The Hidden Dialogue Between Sarah Kane and Edward Bond: The Dramaturgy of Accident Time and Ethical Subjectivities

Chapter 10 From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neilson

Chapter 11 Philip Ridley: Still In-Yer-Face

Chapter 12 Tales from the East End: Dialogic and Confessional Storytelling as Therapy (?) in the Plays of Philip Ridley

Chapter 13 Joe Penhall’s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad

Chapter 14 “Experiential, not speculative”: Love In and After In-Yer-Face

Chapter 15 The Echo Chamber: Theater in a “Post-Truth” World