Acknowledgements | p. vii |
Contributors | p. viii |
Introduction | p. 1 |
In-yer-face theatre: a reconsideration | |
Introduction to part i | p. 19 |
'We all need stories': the politics of in-yer-face theatre | p. 23 |
Cruel britannia | p. 38 |
Harold pinter and poetic politics | p. 56 |
Thatcherism and (post-)feminism | |
Introduction to part ii | p. 71 |
Thatcher's children: alienation and anomie in the plays of judy upton | p. 79 |
Middle-class aspirations and black women's mental (ill) health in zindika's leonora's dance, and bonnie greer's munda negra and dancing on blackwater | p. 96 |
A good night out, for the girls | p. 114 |
Nation, devolution and globalization | |
Introduction to part iii | p. 133 |
'Mapping the territory': modern Scottish drama | p. 143 |
'The net and the self: colliding views of individuality and nationhood in the pre-devolutionary plays of mark Jenkins and ed thomas | p. 158 |
A legacy of violence: representing loyalism in the plays of gary mitchell | p. 176 |
'Because it feels fucking amazing': recent british drama and bodily mutilation | p. 192 |
Rough theatre | p. 208 |
Bibliography | p. 222 |
Index | p. 239 |
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