New writing bibliography
Overview: chapters and articles
Playwrights: chapters and articles
The following publications may be of interest:
Books
Ansorge, Peter, From Liverpool to Los Angeles: On Writing for Theatre, Film and Television, (Faber, 1997).
Aragay, Mireia et al (eds), British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics, (Palgrave Macmillan, 2007).
Aston, Elaine and Janelle Reinelt (eds), Cambridge Companion to Modern British Women Playwrights, (Cambridge University Press, 2000).
Aston, Elaine, Feminist Views on the English Stage: Women Playwrights 1990-2000, (Cambridge University Press, 2003).
Billingham, Peter, At the Sharp End: Uncovering the Work of Five Contemporary Dramatists, (London: Methuen, 2007).
Billington, Michael, State of the Nation: British Theatre Since 1945, (Faber, 2007).
Blandford, Steve, Film, Drama and the Break-Up of Britain, (Intellect, 2007).
Bradwell, Mike, The Bush Theatre Book, (Methuen, 1997).
Bradwell, Mike, The Reluctant Escapologist: Adventures in Alternative Theatre, (Nick Hern, 2010).
Bull, John, Stage Right: Crisis and Recovery in British Contemporary Theatre, (Macmillan, 1994).
Croall, Jonathan, Buzz Buzz! Playwrights, Actors and Directors at the National Theatre, (Methuen Drama, 2008).
D'Monte, Rebecca and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s, (Palgrave Macmillan, 2008).
Dromgoole, Dominic, The Full Room: An A-Z of Contemporary Playwriting, 2nd edn (Methuen, 2002).
Edgar, David (ed), State of Play: Playwrights on Playwriting, (Faber, 1999).
Godiwala, Dimple (ed), Alternatives Within the Mainstream: British Black and Asian Theatres, (Cambridge Scholars Publishing, 2006).
Gottlieb, Vera and Colin Chambers (eds), Theatre in a Cool Climate, (Amber Lane, 1999).
Griffin, Gabriele, Contemporary Black and Asian Women Playwrights in Britain, (Cambridge University Press, 2003).
Harvie, Jen, Staging the UK, (Manchester University Press, 2005).
Holdsworth, Nadine, Theatre & Nation (Palgrave Macmillan, 2010).
Holdsworth, Nadine, and Mary Luckhurst (eds), A Concise Companion to Contemporary British and Irish Drama (Blackwell, 2006).
Howe Kritzer, Amelia, Political Theatre in Post-Thatcher Britain: New Writing 1995-2005, (Palgrave Macmillan, 2008).
Innes, Christopher, Modern British Drama: The Twentieth Century (Cambridge University Press, 2002).
Kershaw, Baz (ed), The Cambridge History of British Theatre: Vol 3, Since 1895, (Cambridge University Press, 2004).
Kustow, Michael, theatre@risk, 2nd edn (Methuen, 2001).
Lane, David, Contemporary British Drama, (Edinburgh University Press, 2010).
Little, Ruth and Emily McLaughlin, The Royal Court Theatre Inside Out, (Oberon, 2007).
Luckhurst, Mary (ed), A Companion to Modern British and Irish Drama 1880-2005, (Blackwell, 2006).
Raby, David Ian, English Drama Since 1940, (Longman, 2003).
Reitz, Bernhard and Mark Berninger (eds), British Drama of the 1990s, (Universitatsverlag C Winter, 2002).
Roberts, Philip, The Royal Court Theatre and the Modern Stage, (Cambridge University Press, 1999).
Shellard, Dominic, British Theatre Since the War, (Yale University Press, 1999).
Sierz, Aleks, In-Yer-Face Theatre: British Drama Today, (Faber, 2001).
Starck, Kathleen, 'I Believe in the Power of Theatre': British Women's Drama of the 1980s and 1990s, (Wissenschafter Verlag Trier, 2005).
Wald, Christina, Hysteria, Trauma and Melancholia: Performative Maladies in Contemporary Anglophone Drama, (Palgrave Macmillan, 2007).
Wallace, Clare, Suspect Cultures: Narrative, Identity and Citation in 1990s New Drama, (Litteraria Pragensia, 2006).
Wandor, Michelene, Post-War British Drama: Looking Back in Gender, (Routledge, 2001).
Waters, Steve, The Secret Life of Plays, (Nick Hern, 2010).
Wyllie, Andrew, Sex on Stage: Gender and Sexuality in Post-War British Theatre, (Intellect, 2009).
Abrams, Joshua, ‘State of the Nation: New British Theatre’, PAJ: A Journal of Performance and Art 95, vol 32, no 2, (May 2010): 8-16.
Defraeye, Piet , 'In-Yer-Face Theatre? Reflections on Provocation and Provoked Audiences in Contemporary Theatre', in Hans-Ulrich Mohr and Kerstin Machler (eds), Extending the Code: New Forms of Dramatic and Theatrical Expression, (Wissenschaftlicher Verlag Trier, 2004): 79-97.
Derbyshire, Harry, 'The Culture of New Writing', Contemporary Theatre Review, vol 18, issue 1, February 2008: 131-4.
Edgar, David, 'The Canon, the Contemporary and the New', in Bernhard Reitz and Heiko Stahl (eds), What Revels Are in Hand? Contemporary Drama in English 8, (Wissenschafter Verlag Trier, 2001): 29-35.
Edgar, David, 'Unsteady States: Theories of Contemporary New Writing', Contemporary Theatre Review, vol 15, issue 3, August 2005: 297-308.
Ginman, John, 'Out of Joint: Max Stafford-Clark and "the Temper of Our Time"', Contemporary Theatre Review, vol 13, issue 3, August 2003: 16-25.
Herbert, Ian, '"How It Was for Us": At the British Theatre Conference', New Theatre Quarterly 94, May 2008: 201-2.
Holdsworth, Nadine, 'Travelling Across Borders: Re-Imagining the Nation and Nationalism in Contemporary Scottish Theatre', Contemporary Theatre Review, vol 13, issue 2, May 2003: 25-39.
Kuti, Elizabeth, 'Tragic Plots from Bootle to Baghdad', Contemporary Theatre Review, vol 18, issue 4, November 2008: 457-69.
McDonald, Jan, ‘Towards National Identities: Theatre in Scotland’, in Baz Kershaw (ed), The Cambridge History of British Theatre: Vol 3, Since 1895 (Cambridge: Cambridge University Press, 2004): 195-227.
Monks, Aoife, 'Review of Cool Britannia by Graham Sauders and Rebecca D'Monte', Contemporary Theatre Review, vol 19, issue 1, February 2009: 120-1.
Nikcevic, Sanja, 'British Brutalism, the "New European Drama", and the Role of the Director', New Theatre Quarterly 83, August 2005: 255-72.
Osborne, Deirdre, 'The State of the Nation: Contemporary Black British Theatre and the Staging of the UK', in Christoph Houswitschka and Anja Muller (eds), Staging Displacement, Exile and Diaspora, (Wissenschaftlicher Verlag Trier, 2005): 129-50.
Pattie, David, '"Mapping the Territory": Modern Scottish Drama', in Rebecca D'Monte and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s, (Palgrave Macmillan, 2007): 143-57.
Payne, Ben, 'In the Beginning Was the Word', in John Deeney (ed), Writing Live: An Investigation of the Relationship Between Writing and Live Art, (New Playwrights Trust, 1998): 9-50.
Rebellato, Dan, ‘From the State of the Nation to Globalization: Shifting Political Agendas in Contemporary British Playwriting’, in Nadine Holdsworth and Mary Luckhurst (eds), A Concise Companion to Contemporary British and Irish Drama: 245-62.
Rebellato, Dan, 'Playwriting and Globalisation: Towards a Site-Unspecific Theatre', Contemporary Theatre Review, vol 16, issue 1, February 2006: 97-113.
Rebellato, Dan, '"Because It Feels Fucking Amazing": Recent British Drama and Bodily Mutilation', in Rebecca D'Monte and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s, (Palgrave Macmillan, 2008): 192-207.
Rebellato, Dan, 'Review of State of the Nation by Michael Billington', Contemporary Theatre Review, vol 18, issue 4, November 2008: 528-30.
Reid, Trish, '"From Scenes Like These Old Scotia's Grandeur Springs": The New National Theatre of Scotland', Contemporary Theatre Review, vol 17, issue 2, May 2007: 192-201.
Reinelt, Janelle, 'Selective Affinities: British Playwrights at Work', Modern Drama, vol 50, no 3 (Fall 2007): 305-24.
Saunders, Graham, 'The Persistence of the "Well-Made Play" in British Theatre of the 1990s', in Ellen Redling and Peter Paul Schnierer (eds), Non-Standard Forms of Contemporary Drama and Theatre, (Wissenschaftlicher Verlag Trier, 2008): 227-39.
Shank, Theodore, 'The Playwriting Profession: Setting Out and the Journey', in Theodore Shank (ed), Contemporary British Theatre, (Macmillan, 1994): 181-204.
Sierz, Aleks, '"About Now" in Birmingham', New Theatre Quarterly 51, August 1997: 289-90.
Sierz, Aleks, 'Cool Britannia? "In-Yer-Face" Writing in the British Theatre Today', New Theatre Quarterly 56, November 1998: 324-33.
Sierz, Aleks, '"The Element That Most Outrages": Morality, Censorship and Sarah Kane's Blasted', in Edward Batley and David Bradby (eds), Morality and Justice: The Challenge of European Theatre, (Rodopi, 2001): 225-39.
Sierz, Aleks, 'Still In-Yer-Face? Towards a Critique and a Summation', New Theatre Quarterly 69, February 2002: 17-24.
Sierz, Aleks, '"In Yer Face?" in Bristol', New Theatre Quarterly 73, February 2003: 90-1.
Sierz, Aleks, '"Art Flourishes in Times of Struggle": Creativity, Funding and New Writing', Contemporary Theatre Review, vol 13, issue 1, February 2003: 33-45.
Sierz, Aleks, '"To Recommend a Cure": Beyond Social Realism and In-Yer-Face Theatre', in Hans-Ulrich Mohr and Kerstin Machler (eds), Extending the Code: New Forms of Dramatic and Theatrical Expression, (Wissenschaftlicher Verlag Trier, 2004): 45-62.
Sierz, Aleks, '"Me and My Mates": The State of English Playwriting, 2003', New Theatre Quarterly 77, February 2004: 79-83.
Sierz, Aleks, '"Big Ideas" for Big Stages, 2004', New Theatre Quarterly 81, February 2005: 96-8.
Sierz, Aleks, 'Beyond Timidity?: The State of British New Writing', PAJ: A Journal of Performance and Art 81, September 2005: 55-61.
Sierz, Aleks, 'Alternative or Mainstream?: London Fringe Theatre in Image and Reality', in Thomas Rommel and Mark Schreiber (eds), Mapping Uncertain Territories: Space and Place in Contemporary Theatre and Drama, (Wissenschaftlicher Verlag Trier, 2006): 23-38.
Sierz, Aleks, '"Crippling Debt and a Diminished Will To Live": Art, Commerce and New Writing in British Theatre', in Katarina Ciric-Petrovic (ed), New European Drama: Art or Commercial Product?, (Sterijino Pozorje, 2006): 267-75.
Sierz, Aleks, '"Can Old Forms Be Reinvigorated?" Radical Populism and New Writing in British Theatre Today', Contemporary Theatre Review, vol 16 issue 3, August 2006: 301-11.
Sierz, Aleks, 'New Writing 2006', Contemporary Theatre Review, vol 16, issue 3, August 2006: 371-3.
Sierz, Aleks, '"Political What-Do-Ya-Call It": British Drama and Its Politics', in Sabine Volk-Birke and Julia Lippert (eds), Anglistentag 2006 Halle: Proceedings, (Wissenschaftlicher Verlag Trier, 2007): 203-13.
Sierz, Aleks, 'New Writing: The Old Guard Departs', Contemporary Theatre Review, vol 17, issue 4, November 2007: 596-9.
Sierz, Aleks, 'British New Writing Today', Western European Stages, vol 19, no 1, Winter 2007: 5-8.
Sierz, Aleks, 'New Writing for Theatre: A Public Discussion', Western European Stages, vol 19, no 1, Winter 2007: 37-48.
Sierz, Aleks, '"We All Need Stories": The Politics of In-Yer-Face Theatre', in Rebecca D'Monte and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s, (Palgrave Macmillan, 2008): 23-37.
Sierz, Aleks, 'Reality Sucks: The Slump in British New Writing', PAJ: A Journal of Performance and Art 89, May 2008: 102-7.
Sierz, Aleks, ‘New Writing: Scanning the Horizon’, Contemporary Theatre Review, vol 19, issue 1, February 2009: 131-3.
Sierz, Aleks, ‘Introduction’, in Aleks Sierz (ed), The Methuen Drama Book of Twenty-First Century British Plays, (Methuen, 2010): vii-xvii.
Sierz, Aleks, ‘New Writing 2009’, Contemporary Theatre Review, vol 20, issue 1, February 2010: 129-31.
Tomlin, Liz, 'English Theatre in the 1990s and Beyond', in Baz Kershaw (ed), The Cambridge History of British Theatre: Vol 3, Since 1895, (Cambridge University Press, 2004): 498-512.
Urban, Ken, 'Towards a Theory of Cruel Britannia: Coolness, Cruelty and the 'Nineties', New Theatre Quarterly 80, November 2004: 354-72.
Books
Boon, Richard, About Hare: The Playwright and the Work, (Faber, 2003).
Butler, Robert, Humble Beginnings, (London: National Theatre, 2001).
Chambers, Lilian and Eamonn Jordan (eds), The Theatre of Martin McDonagh: A World of Savage Stories, (Carysfort, 2006).
Croall, Jonathan, Inside the Molly House, (London: National Theatre, 2001).
De Vos, Laurens, and Graham Saunders (eds), Sarah Kane in Context, (Manchester University Press, 2010).
Devine, Harriet, Looking Back: Playwrights at the Royal Court, (Faber, 2006).
Graham, Scott, and Steven Hoggett, The Frantic Assembly Book of Devising Theatre (Abingdon: Routledge, 2009).
Gritzner, Karoline and David Ian Raby (eds), Theatre of Catastrophe: New Essays on Howard Barker, (Oberon, 2006).
Iball, Helen, Sarah Kane's Blasted, (Continuum, 2008).
Roberts, Philip, About Churchill: The Playwright and the Work, (Faber, 2008).
Russell, Richard Rankin (ed), Martin McDonagh: A Casebook, (Routledge, 2007).
Saunders, Graham, 'Love Me or Kill Me': Sarah Kane and the Theatre of Extremes, (Manchester University Press, 2002).
Saunders, Graham, Patrick Marber's Closer, (Continuum, 2008).
Saunders, Graham, About Kane : The Playwright and the Work, (Faber, 2009).
Sierz, Aleks, The Theatre of Martin Crimp, (Methuen Drama, 2006).
Stephenson, Heidi and Natasha Langridge, Rage and Reason: Women Playwrights on Playwriting, (Methuen, 1997).
Chapters and articles
Angelaki, Vicky, 'Subtractive Forms and Composite Contents: Martin Crimp's Fewer Emergencies', in Ellen Redling and Peter Paul Schnierer (eds), Non-Standard Forms of Contemporary Drama and Theatre, (Wissenschaftlicher Verlag Trier, 2008): 31-46.
Angelaki, Vicky, ‘Taking a Bite of the Big Apple: Martin Crimp’s The Treatment’, in Elisabeth Angel-Perez and Alexandra Poulain (eds), Hunger on the Stage, (Newcastle: Cambridge Scholars Publishing, 2008): pp 257-67.
Baley, Shannon, 'Death and Desire, Apocalypse and Utopia: Feminist Gestus and the Utopian Performative in the Plays of Naomi Wallace', Modern Drama, vol 47, no 2 (Summer 2004): 237-49.
Barnett, David, 'When Is a Play Not a Drama? Two Examples of Postdramatic Theatre Texts', New Theatre Quarterly 93, February 2008: 14-23.
Derbyshire, Harry, 'Roy Williams: Representing Multicultural Britain in Fallout', Modern Drama, vol L, no 3, (Fall 2007): 414-34.
Goddard, Lynette, 'debbie tucker green', Contemporary Theatre Review, vol 15, issue 3, August 2005: 376-81.
Greig, David, 'Introduction', to Sarah Kane, Complete Plays: Blasted, Phaedra's Love, Cleansed, Crave, 4.48 Psychosis, Skin, (Methuen, 2001).
Holdsworth, Nadine, and Wallace McDowell, 'A Legacy of Violence: Representing Loyalism in the Plays of Gary Mitchell', in Rebecca D'Monte and Graham Saunders (eds), Cool Britannia? British Political Drama in the 1990s, (Palgrave Macmillan, 2008): 176-91.
Jernigan, Daniel, 'Traps, Softcops, Blue Heart, and This Is a Chair: Tracking Epistemological Upheaval in Caryl Churchill's Shorter Plays', Modern Drama, vol 47, no 1 (Spring 2004): 22-43.
Lonergan, Patrick, '"The Laughter Will Come of Itself. The Tears Are Inevitable": Martin McDonagh, Globalization, and Irish Theatre Criticism', Modern Drama, vol 47, no 4 (Winter 2004): 636-58.
Luckhurst, Mary, 'Political Point-Scoring: Martin Crimp's Attempts on Her Life', Contemporary Theatre Review, vol 13, issue 1, February 2003: 47-60.
Luckhurst, Mary, 'Martin McDonagh's Lieutenant of Inishmore: Selling (-Out) to the English', Contemporary Theatre Review, vol 14, issue 4, November 2004: 34-41.
Muller, Anja, '"We Are Also Europe": Staging Displacement in David Greig's Plays', in Christoph Houswitschka and Anja Muller (eds), Staging Displacement, Exile and Diaspora, (Wissenschaftlicher Verlag Trier, 2005): 151-68.
Osborne, Deirdre, '"Know Whence You Came": Kwame Kwei-Armah in Conversation', New Theatre Quarterly 91, August 2007: 253-63.
Peacock, D Keith, 'The Question of Multiculturalism: The Plays of Roy Williams', in Mary Luckhurst (ed), A Companion to Modern British and Irish Drama 1880-2005, (Blackwell, 2006): 530-40.
Rabe, Michael, '"Post-Feminist Masculinity and All That Shit": Patrick Marber's Closer in London and Munich', in Bernhard Reitz and Mark Berninger (eds), British Drama of the 1990s, (Universitatsverlag C Winter, 2002): 137-48.
Rebellato, Dan, 'Introduction', to Mark Ravenhill, Plays 1: Shopping and Fucking; Faust Is Dead; Handbag; Some Explicit Polaroids, (Methuen, 2001): ix-xx.
Rebellato, Dan, 'Introduction', to David Greig, Plays 1: Europe; The Architect; The Cosmonaut's Last Message to the Woman He Once Loved in the Former Soviet Union, (Methuen, 2002): ix-xxiii.
Rebellato, Dan, 'Simon Stephens', Contemporary Theatre Review, vol 15, issue 1, February 2005: 174-8.
Rebellato, Dan, 'Dennis Kelly', Contemporary Theatre Review, vol 17, issue 4, November 2007: 603-8.
Rees, Catherine, 'The Good, the Bad, and the Ugly: the Politics of Morality in Martin McDonagh's Lieutenant of Inishmore', New Theatre Quarterly 81, February 2005: 28-33.
Reid, Trish, '"Deformities of the Frame": The Theatre of Anthony Neilson', Contemporary Theatre Review, vol 17, issue 4, November 2007: 487-98.
Russell, Richard Rankin, '"Loyal to the Truth": Gary Mitchell's Aesthetic Loyalism in As the Beast Sleeps and The Force of Change', Modern Drama, vol 48, no 1 (Spring 2005): 186-201.
Sakellaridou, Elizabeth, 'Kill the Author, Kill the Auteur: Rebecca Prichard's Yard Gal', in Ellen Redling and Peter Paul Schnierer (eds), Non-Standard Forms of Contemporary Drama and Theatre, (Wissenschaftlicher Verlag Trier, 2008): 47-56.
Saunders, Graham, 'The Apocalyptic Theatre of Sarah Kane', in Bernhard Reitz and Mark Berninger (eds), British Drama of the 1990s, (Universitatsverlag C Winter, 2002): 123-36.
Saunders, Graham, '"Just a Word on a Page and There Is the Drama": Sarah Kane's Theatrical Legacy', Contemporary Theatre Review, vol 13, issue 1, February 2003: 97-110.
Schreiber, Mark, '"The Celtic Tiger Is Trapped and Speaks with a Twisted Tongue": Language, Space and the Question of Identity in the Plays of Enda Walsh', in Hans-Ulrich Mohr and Kerstin Machler (eds), Extending the Code: New Forms of Dramatic and Theatrical Expression, (Wissenschaftlicher Verlag Trier, 2004): 145-57.
Sierz, Aleks, 'Sarah Kane Checklist', New Theatre Quarterly 67, August 2001: 285-90.
Sierz, Aleks, 'Sarah Kane', in HCG Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography [New DNB], Vol 30 [Jenner-Keayne], (Oxford University Press, 2004): 873-4.
Sierz, Aleks, 'Frantic Assembly', Theatre Forum 26, Winter/Spring 2005: 3-9.
Sierz, Aleks, '"Two Worlds Fighting Each Other": Roy Williams and Contemporary Black British Theatre', in Geoffrey V Davis and Anne Fuchs (eds), Staging New Britain: Aspects of Black and South Asian British Theatre Practice, (Presses Interuniversitaires Europeennes, 2006): 177-88.
Sierz, Aleks, '"What Kind of England Do We Want?": Roy Williams in Conversation', New Theatre Quarterly 86, May 2006: 113-21.
Sierz, Aleks, '"The Question Is the Ultimate in Discomfort": Martin Crimp in Conversation', New Theatre Quarterly 88, November 2006: 352-60.
Sierz, Aleks, 'Martin Crimp Checklist': New Theatre Quarterly 88, November 2006: 361-3.
Sierz, Aleks, 'Richard Bean in Conversation', in Christoph Henke and Martin Middeke (eds), Drama and/after Postmodernism, (Wissenschaftlicher Verlag Trier, 2007): 351-61.
Sierz, Aleks, '"Form Follows Function": Meaning and Politics in Martin Crimp's Fewer Emergencies', Modern Drama, vol 50, no 3 (Fall 2007): 375-93.
Sierz, Aleks, '"As Long as the Punters Enjoy It": Tanika Gupta in Conversation', New Theatre Quarterly 95, August 2008: 260-9.
Sierz, Aleks, '"We're All Bloody Hungry": Images of Hunger and the Construction of the Gendered Self in Sarah Kane's Blasted', in Elisabeth Angel-Perez and Alexandra Poulain (eds), Hunger on the Stage, (Cambridge Scholars Publishing, 2008): 268-79.
Sierz, Aleks, ‘"Putting a New Lens on the World": Philip Ridley in Conversation’, New Theatre Quarterly 98, May 2009: 109-17.
Smith, Kathy, ‘A House Built on Mud: Stages of Translation and the Theatre of Rona Munro’, in Monika Pietrzak-Franger and Eckart Voigts-Virchow (eds), Adaptations: Performing across Media and Genres (Trier: Wissenschaftlicher Verlag Trier, 2009): 239-52.
Stark, Kathleen, 'Battlefield "Body": Gregory Burke's Gagarin Way and Anthony Neilson's Stitching', in Hans-Ulrich Mohr and Kerstin Machler (eds), Extending the Code: New Forms of Dramatic and Theatrical Expression, (Wissenschaftlicher Verlag Trier, 2004): 171-9.
Svich, Caridad, 'Commerce and Morality in the Theatre of Mark Ravenhill', Contemporary Theatre Review, vol 13, issue 1, February 2003: 81-96.
Svich, Caridad, 'An Urban Fabulist: Laura Wade', Contemporary Theatre Review, vol 16, issue 2, May 2006: 245-50.
Teevan, Colin, 'Free the Playwrights! A Brief Introduction to Monsterism', Contemporary Theatre Review, vol 16, issue 2, May 2006: 239-45.
Urban, Ken, 'An Ethics of Catastrophe: The Theatre of Sarah Kane', PAJ: A Journal of Performance and Art 69, September 2001: 36-46.
Urban, Ken, 'Ghosts from an Imperfect Place: Philip Ridley's Nostalgia', Modern Drama, vol 50, no 3 (Fall 2007): 325-45.
Zimmermann, Heiner, 'Images of Woman in Martin Crimp's Attempts on Her Life', European Journal of English Studies, vol 7, no 1, April 2003: 69-85.
Audio
Blasted: The Life and Death of Sarah Kane, narrated by Dan Rebellato, BBC Radio 4, 19 February 2009.
TheatreVOICE, audio website edited by Dominic Cavendish and Aleks Sierz, interviews with playwrights, directors, performers and academics, 2003- .
Blasted and After: New Writing in British Theatre Today, lecture by Aleks Sierz, the Society for Theatre Research, 16 February 2010.
Websites
Literary Encyclopedia, site by various academics and critics with articles on various playwrights and plays.
Sarah Kane, site by Iain Fisher dedicated to the work of the playwright.
TheatreVOICE, audio website edited by Dominic Cavendish and Aleks Sierz, interviews with playwrights, directors, performers and academics, 2003- .
Blogs
West End Whingers, reviews and comment on London theatre, 2006- .
