List of Illustrations
List of Contributors
About this Book
Acknowledgments
Foreword, Arifa Akbar (The Guardian)
Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)
Part 1: Feminist Legacies and Renewals
1.1. Introduction, Rebecca Benzie (University of York, UK)
1.2. Taking Stock of the Top-Girl Legacy: Lucy Prebble's Enron and Penelope Skinner's Linda, Maria Elisa Montironi (University of Urbino, Italy)
1.3. Reclaiming Herstory in Six, the Musical and Emilia, Samia La Virgne (Royal Holloway, University of London, UK)
1.4. Claiming Space: Directing Medea on the Twenty-first-century British Stage, Anja Hartl (University of Innsbruck, Austria)
1.5. Revisiting and Revamping the Naturalistic Form: Contemporary Adaptations by Zinnie Harris and Alexandra Wood, B¼sra Erdurucan (Istanbul Kultur University, Turkey)
Part 2: Politics of Identity
2.1. Introduction, Marissia Fragkou ((Aristotle University of Thessaloniki, Greece)
2.2. Speaking and Listening: Ella Hicksonâs Oil and Hannah Khalilâs Museum in Baghdad, Susan Bennett (University of Calgary, Canada)
2.3. Voicing Bodies, Voicing Histories: Elaine Mitchener's Experimental Vocal Performance, Konstantinos Thomaidis (University of Exeter, UK)
2.4. Performativity after Repetition? Queer and Feminist Praxis in Nic Green's Cock and Bull and Jade Montserrat's Revue/Shadowing Josephine, Steve Greer (University of Glasgow, UK)
Part 3: Women, Health and the Body
3.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)
3.2. Womenâs Suicide in Contemporary British Theatre, Jon Venn (University of Birmingham, UK)
3.3. Black Womenâs Health and Theatre: Staging Care in Mojisola Adebayoâs STARS and Zawe Ashtonâs for all the women who thought they were Mad, Veronica Rodriguez-Morales (University of Alicante, Spain) and Paola Prieto Perez (University of Oviedo, Spain)
3.4. âA Strong, Older Womanâ: Lived Experiences of Female Ageing in Contemporary British Theatre, Faye Rigopoulou (Independent researcher)
Part 4: Ecodramaturgies
4.1. Introduction, Marissia Fragkou (Aristotle University of Thessaloniki, Greece)
4.2. âAuspicious Terrainâ: The Ecological Imprints of Caryl Churchillâs Escaped Alone and What if if Only, Patrick Lonergan (University of Galway, Ireland)
4.3. âFor the Future, Nowâ: Climate Crisis and Futurity in Nina Segalâs In the Night Time (Before the Sun Rises) and Dawn Kingâs The Trials, Catherine Love (University of York, UK)
4.4. Decolonizing Ecodramaturgies in Sheila Ghelaniâs Atmospheric Forces and Ray Youngâs Thirst Trap, Lisa Woynarski (University of Reading, UK)
4.5. âNo Theatre on a Dead Planetâ: (Eco)Care in the Work of Lucy Kirkwood and Andrea Carr, Shelby Brewster (Independent researcher)
Part 5: Institutional Ecologies and Theatre Cultures
5.1. Introduction, Rebecca Benzie (University of York, UK)
5.2. Assembling Diverse Voices: Female Migrant Artists in the British Theatre System, Kasia Lech (University of Amsterdam, The Netherlands)
5.3. Women and the Contemporary Scottish Stage, Trish Reid (University of Reading, UK)
5.4. âDonât Fucking Clap Meâ: Applauding Bryony Kimmings and Deborah Pearsonâs Maternal Dramaturgies in English Play Development, Lucy Tyler (University of Reading, UK)
Part 6: Collaborative Practices
6.1. Introduction, Rebecca Benzie (University of York, UK)
6.2. Rewriting Women, Crime, and Punishment: Commissioning and Collaboration Process in the Work of Clean Break Theatre Company, Caoimhe McAvinchey (Queen Mary, University of London, UK) and Sara Bartley (Royal Central School of Speech and Drama, UK)
6.3. The 'Human Snowball': Emma Riceâs Collaborative Practice, Lisa Peck (University of Sussex, UK)
6.4. Scenographic Doing: Performance Making Partnerships and Design-Led Collaboration, Katherine Graham (University of York, UK)
Part 7: Women in the Theatre Industry
7.1. Roundtable Discussion with Kate Lovell, Sabrina Mahfouz, Helen Paris and Sarah Sigal, Marissia Fragkou (Aristotle University of Thessaloniki, Greece) and Rebecca Benzie (University of York, UK)
References
Annotated Bibliography
Index
