His publications include 1956 and All That (1999), Theatre and Globalization (2009), and the Cambridge Companions to British Theatre 1945 and Contemporary British Plays and Playwriting (2020).Įdited by Maria M. Dan Rebellato is a playwright and Professor of Contemporary Theatre at Royal Holloway University of London, UK. His publications include After '89: Polish Theatre and the Political (2016) and A History of Polish Theatre (2021). Bryce Lease is Reader in Theatre and Performance Studies at Royal Holloway, University of London, UK and Co-Editor of Contemporary Theatre Review. Her publications include ‘Other’ Spanish Theatres (2003, revised Spanish-language edition, 2017), Federico García Lorca (2008) and ten co-edited volumes. Delgado is Professor of Theatre and Screen Arts at The Royal Central School of Speech and Drama, University of London, UK. Written for students and scholars of European theatre and playwriting, this book will leave the reader with an understanding of the shifting relationships between the subsidised and commercial, the alternative and the mainstream stage, and political stakes of playmaking in European theatre since 1989. With chapters by leading scholars and contributions by the writers themselves, the chapters bring playwrights together to examine their work as part of a network and genealogy of writing, examining how these plays embody and interrogate the nature of contemporary Europe. Traversing borders and languages, this volume offers a fresh approach to analysing plays in production by some of the most widely performed European playwrights, assessing how their work has revealed new meanings and theatrical possibilities as they move across the continent, building an unprecedented picture of the contemporary European repertoire. Jonas Hassen Khemiri: Writing out of the binaryĬontemporary European Playwrights presents and discusses a range of key writers that have radically reshaped European theatre by finding new ways to express the changing nature of the continent’s society and culture, and whose work is still in dialogue with Europe today. Peter Handke: Inhabiting the world togetherĢ0. debbie tucker green and Alice Birch: ‘Angry feminists’ on the European stageġ9. Biljana Srbljanovic´ and Ivana Sajko: Voice in the place of silenceġ8. Emma Dante and Fausto Paravidino: Families, national identity, and international audiencesġ7. Lena Kitsopoulou and Yannis Mavritsakis: Greek theatre at the antipodes of crisisġ6. Yasmina Reza and Florian Zeller: The art of successġ5. Enda Walsh and Martin McDonagh: Reimagining Irish theatreġ4. Ivan Vyrypaev and Natalia Vorozhbyt: Language, memory, and cultural mythology in Russian and Ukrainian new dramaġ3. Jordi Galceran and Juan Mayorga: Unravelling the present, narrativising the pastġ2. Paweł Demirski and Dorota Masłowska: Painful pasts, transformative presentsġ1. Vasilii Sigarev and the Presniakov Brothers: Staging the newġ0.
Sarah Kane and Mark Ravenhill: The ‘blood and sperm’ generationĩ. Marius von Mayenburg and Roland Schimmelpfennig: Dissecting European lives under global capitalismĨ. Martin Crimp and Simon Stephens: British playwrights as European playwrightsħ. Lars Norén and Jon Fosse: Nordic grey or theatre innovators?Ħ. András Visky and Matéi Visniec: Challenging boundaries of cultural specificityĥ. Weronika Szczawin´ska and Agnieszka Jakimiak: Dramaturg as a figure of transitionĤ. Elfriede Jelinek and Werner Schwab: Heimat critique and dissections of right-wing populism and xenophobiaģ.
European playwriting and politics, 1945–89Ģ.
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