Titlebook: After In-Yer-Face Theatre; Remnants of a Theatr William C. Boles Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive

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Russian “In-Yer-Face Theatre” as a Problem or a ProcessThe influence of British drama on contemporary Russian theater process and the reception of Ravenhill’s plays in Russia will also be considered..“New Drama” in the Russian theater is a movement from the last two decades, formed in the late 1990s and became highly prolific at the start of the millennium.

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Allergic

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From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neilsw the dramatic space has become a mental space. Looking at Martin Crimp’s ., Sarah Kane’s ., and Anthony Neilson’s ., Ayache then uses the concepts of absence and dissociation to suggest that the staging of vanishing female characters and their troubled mindscapes reflects the anxieties of our times.

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Tales from the East End: Dialogic and Confessional Storytelling as Therapy (?) in the Plays of Philitwo styles of storytelling impact the possibilities for healing or recuperation? Whilst the traditional dialogic form used in . (2000) lends itself to a traditional Aristotelian resolution, the direct address of . (2013) and . (2015) results in a more problematic ending for both protagonist and audience.

DEI

Joe Penhall’s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad, Penhall writes about a father who embraces all feminine roles in the family, including giving birth to a child. Through both plays Penhall, a father himself, relies on the staging of fatherhood as a new inspiration in his writing, finally banishing elements from the In-Yer-Face movement from his canon.

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“Experiential, not speculative”: Love In and After In-Yer-Faceer-Face theatre. Its combination of comparatively plain, declarative language with gripping stage images asks for direct perception rather than comprehension or interpretation. This “aesthetics of directness” is made visible by comparing the treatment of love in Ravenhill’s . and Kane’s . on the one hand with that in Dennis Kelly’s . on the other.

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The Echo Chamber: Theater in a “Post-Truth” Worldriting renaissance in the United Kingdom. The analysis examines the ways verbatim dramaturgies locate and expand definitions of those contested terms, in an attempt to reposition them within the cautious framing of current “post-truth” theories.

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