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In-yer-face Theatre: British Drama Today

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Sierz, Aleks (March 2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. pp.181–186. ISBN 0-571-20049-4. Taylor, Paul. "Rainbow Kiss, Royal Court Upstairs, London". The Independent . Retrieved 29 March 2021. a b c d " In-Yer-Face? British Drama in the 1990s", University of the West of England, Bristol, 6–7 September 2002, Writernet 2003. Retrieved 9 June 2008. (Conference report posted on writernet.co.uk, in both HTML and PDF versions).

a b Susan Hollis Merritt, Pinter in Play: Critical Strategies and the Plays of Harold Pinter (1990; Durham and London: Duke UP, 1995) 5, 9, 225–28, 326, citing Wardle. In-Yer-Face? British Drama in the 1990s”. University of the West of England, Bristol.( 6–7 September 2002), Writernet 2003. (Conference report posted on writernet.co.uk, in both HTML and PDF versions).

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The three main figures in in-yer-face theatre, according to Aleks Sierz, are Sarah Kane, Mark Ravenhill and Anthony Neilson. However, other writers have been associated with the movement, including: Jez Butterworth, Martin Crimp, Stephen Daldry, Denis Kelly, Tracy Letts, Martin McDonagh and Phyllis Nagy. Notable Works a b c d e f g h Aleks Sierz, "Still In-Yer-Face? Towards a Critique and a Summation", New Theatre Quart. 18.1 (2002): 17–24; published online by Cambridge University Press, journals.cambridge.org. Retrieved 9 June 2008. Sierz also states that the murder "resulted in calls for the censorship of films, of television and of art works" [18] because "in 1994 the judge in the boys' trial explained the murder by speculating that they had been exposed to a violent video, ' Child's Play 3', this created a media storm which, I would argue, is the cultural context for the media uproar over Blasted". [6] Stephen Daldry at The Royal Court Theatre [ edit ] Sierz, Aleks (2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. p.47. ISBN 978-0-571-20049-8 . Retrieved 12 November 2020. In-yer-face theatre has often been mistakenly categorised as being a 'movement' [43] [44] [45] which Sierz has disputed: [46]

In 2004 the playwright Mark Ravenhill gave a lecture entitled 'A Tear in the Fabric: the James Bulger Murder and New Theatre Writing in the 1990s'. In this lecture Ravenhill explained how the Bulger murder prompted him to make his "first attempt at writing a play". Ravenhill believes that the murder may have inspired other playwrights from the 1990s: "I wonder if I was alone? I doubt it. I wonder how many other people there were who started to write with that CCTV picture of the boy led away somewhere in their head? […] How many of the young British playwrights of the 1990s — the so-called in-yer-face playwrights — were driven, consciously or unconsciously, by that moment?" Font, Jeremy (18 October 2016). "Bella Hayman". Incredible Women. Series 5. BBC. BBC Radio 4 . Retrieved 3 March 2021. a b Sierz, Aleks (2013). The Theatre of Martin Crimp (Seconded.). Bloomsbury Methuen Drama. pp.48–49. ISBN 978-1472517012. However, despite the near ubiquity of in-yer-face theatre, the ‘movement’ burned brightly but briefly. Audiences and playwrights alike began to tire of on-stage brutality. Many established stage writers, such as Martin Crimp, Martin McDonagh and the American playwright Tracy Letts owe their careers to explosive starts in in-yer-face theatre. However, the anger of their younger work is largely missing from their recent, more ‘mature’ work. Notable FiguresRidley, P., & Sierz, A. (2009). 'Putting a New Lens on the World': The Art of Theatrical Alchemy. New Theatre Quarterly, 25(2), 109-117. doi:10.1017/S0266464X09000207 THE THEATREVOICE DEBATE: NEW WRITING Audio recording and Transcript. Hosted by Aleks Sierz featuring Richard Bean, Simon Stephens and Mark Ravenhill.

In-Yer-Face Theatre: A Contemporary Form of Drama Sarah Kane’s 4.48 Psychosis performed at the 2008 Edinburgh festival. Photograph: Murdo Macleod for the Guardian STR Events: February 2010 Lecture". str.org.uk. Archived from the original on 4 March 2016 . Retrieved 31 May 2017. a b c Sierz, Aleks (24 May 2012). Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations. Great Britain: Methuen Drama. p.60. ISBN 9781408181331. Sierz, Aleks (24 May 2012). Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations. Great Britain: Methuen Drama. p.82-84. ISBN 9781408181331.

Article contents

Sierz, Aleks (2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. p.33. ISBN 978-0-571-20049-8 . Retrieved 12 November 2020. Spencer, Charles (14 April 2006). "That kitchen sinking feeling". The Telegraph. Archived from the original on 23 May 2009 . Retrieved 29 March 2021. Sierz, Aleks (16 February 2010). NEW WRITING SPECIAL (Speech). Lecture entitled Blasted and After: New Writing in British Theatre Today, about in-yer-face theatre in 1990s and its aftermath, given by Aleks Sierz at a meeting of the Society for Theatre Research, at the Art Workers Guild. London . Retrieved 10 November 2020. Sierz, Aleks (March 2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. p.36. ISBN 0-571-20049-4. Sierz, Aleks (March 2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber Limited. pp.42–43. ISBN 0-571-20049-4.

Towards the end on the 1990s there were declining numbers of new in-yer-face plays being performed in Britain. In-Yer-Face? British Drama in the 1990s". University of the West of England, Bristol. 6–7 September 2002, Writernet 2003. Retrieved 9 June 2008. (Conference report posted on writernet.co.uk, in both HTML and PDF versions).In the 2006 film Venus the elderly actor Maurice Russell takes the young woman Jessie to see a play at The Royal Court Theatre Upstairs. The play features a scene with three girls in their late-teens speaking to one another with explicit language. Although the published screenplay written by Hanif Kureishi featured swearing in this scene, the dialogue used in the film is more explicit, with a line delivered by one of the stage actors being changed from "silly cow" to "stupid cunt". [71] [72] Funnily enough, in-yer-face theatre constitutes less of a rigid stylistic movement, and more of a cultural trend in 1990s Britain that saw the prevalence of similar works being produced at once. Some critics point to cultural events such as the AIDS epidemic or the aftermath of the Thatcher Era to explain the emergence of such anger in the art being made.

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