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After In-Yer-Face Theatre

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Cover of 'After In-Yer-Face Theatre'

Table of Contents

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    Book Overview
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    Chapter 1 Introduction: Reflections on In-Yer-Face from the Other Side of the Atlantic
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    Chapter 2 “In the Pursuit of New Writers”: The Royal Court Young Peoples’ Theatre and the Development of First-Time Playwrights in the 1990s
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    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
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    Chapter 4 “The Last Rolo”: Love, Conflict and War in Anthony Neilson’s Penetrator
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    Chapter 5 Mark Ravenhill’s Dialectical Emotions: In-Yer-Face as Post-Brechtian Theater
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    Chapter 6 Undressing Sarah Kane: A Portuguese Perspective on In-Yer-Face
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    Chapter 7 Russian “In-Yer-Face Theatre” as a Problem or a Process
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    Chapter 8 Surfing the Wave of In-Yer-Face Theatre on Australian Shores
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    Chapter 9 The Hidden Dialogue Between Sarah Kane and Edward Bond: The Dramaturgy of Accident Time and Ethical Subjectivities
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    Chapter 10 From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neilson
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    Chapter 11 Philip Ridley: Still In-Yer-Face
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    Chapter 12 Tales from the East End: Dialogic and Confessional Storytelling as Therapy (?) in the Plays of Philip Ridley
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    Chapter 13 Joe Penhall’s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad
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    Chapter 14 “Experiential, not speculative”: Love In and After In-Yer-Face
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    Chapter 15 The Echo Chamber: Theater in a “Post-Truth” World
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