Introduction (Camilla Whitehill's Mr Incredible)
'Staging the Systemic': Context and Methodology
Unspectacular: The Representation of Violence in 2010s British Theatre and Mr Incredible
Overview
Chapter One: Violence (Caryl Churchill's Escaped Alone)
Tea and Catastrophe: Churchill in the 2010s
The Necessary Difficulty of Defining Violence: Arendt, Sontag, and Escaped Alone
Making Invisible Violence Visible: Evans, Giroux, Žizek, and Escaped Alone
Violence and 'Truth': Butler, Nancy, and Escaped Alone
Conclusion
Chapter Two: Performativity (Lulu Raczka and Barrel Organ's Some People Talk About Violence and Martin McDonagh's A Very Very Very Dark Matter)
Theatrical Strategies and Reality-Making: Perspectives on Performativity and Theatre
Injurious Speech: The Violence of Performativity and Some People Talk About Violence
Oppressive Recitation: The Performativity of Violence and A Very Very Very Dark Matter
Conclusion
Chapter Three: Protest (Chris Thorpe's There Has Possibly Been An Incident and debbie tucker green's ear for eye)
(Ir)relevancy and (Il)legitimacy in the Public Sphere: Protest, Theatre, and (Non)Violence
Nonviolent Progress/Revolutionary Change: Witnessing Black Witnessing in ear for eye
Conclusion
Chapter Four: Climate Crisis (Ella Hickson's Oil, Duncan Macmillan's Lungs, and Lucy Kirkwood's The Children)
The Violent Performativity of Resource Exploitation: Magic Realism and Perspective in Oil
Dramaturgies of 2010s British CCT: Domesticity, Cli-Fi, Posthumanism, and Materiality
Performative Taxonomical Violence: The Slow Theatre of The Children
Conclusion
Chapter Five: Brexit and Neoliberalism (Rose Lewenstein's Cougar, Alistair McDowall's Pomona and Simon Stephens's Three Kingdoms)
Apocalypse and Dystopia: Theatrical Visions of 2010s British Neoliberalism
Empty Europe: Cross-Cultural British-European Theatre and Dramaturgies of Violence
Conclusion
Chapter Six: Brexit and Racism (Anders Lustgarten's Lampedusa, Zinnie Harris's How to Hold Your Breath, and Somalia Nonye Seaton's Fall of the Kingdom, Rise of the Foot Soldier)
Europeanness and the Other: Lampedusa and How to Hold Your Breath
Racism and British Identity: Fall of the Kingdom, Rise of the Foot Soldier
Conclusion
Chapter Seven: Gender-Based Violence (Katherine Chandler's Bird and Jasmine Lee-Jones's seven methods of killing kylie jenner)
The Performative 'Reality' of Gender-Based Violence: Fluid Realism and Bird
Breaking (Violent) Forms: Realism-without-truth and seven methods of killing kylie jenner
Conclusion
Conclusion (Travis Alabanza's Burgerz)
Violence and Performativity in 2010s British Theatre: Three Contentions
The Power of Performativity: Showing Structural Violence and Burgerz
Concluding Remarks
Works Cited
Appendix: List of Performances
Bibliography
Index
