The New Wave of British Women Playwrights: 2008 – 2021

Acknowledgements\nTable of Contents\nIntroduction: “Are We Not Over That?”\nI Ecodramaturgies and Global Crisis\nPopulation Concerns, Reproductive Justice, and Gendered Perspectives in Florence Keith-Roach’s Eggs (2015), Vivienne Franzmann’s Bodies (2017) and Maud Dromgoole’s 3 Billion Seconds (2018)\nSexual and Gender-Based Violence on Female Bodies: Ecofeminism in Lucy Kirkwood’s Maryland (2021) and Ellie Kendrick’s and RashDash’s Hole (2018)\nLucy Prebble’s Enron (2009): The Financial Crisis as Theatrical Spectacle in the Era of Liquid Modernity\nHow To Survive a Crisis: Forming a New Self in Zinnie Harris’s How to Hold Your Breath (2015)\nII The Politics of Intimacy\nElla Hickson’s ANNA (2019) and Lucy Kirkwood’s Mosquitoes (2017): Staging the Female Body Electric\ndebbie tucker green’s ‘troumatic’ dramaturgy\n“Who Gets to Speak and How?”: Staging Autofiction in Debris Stevenson’s Poet in da Corner (2018) and Ella Hickson’s The Writer (2018)\nIII Experimenting with Forms\n“I Want the World to Change Shape”: Form and Politics in Ella Hickson’s The Writer (2018)\nChallenging Realism: The Confines of Domesticity in Morna Pearson’s Plays\nAlice Birch – A Poet in the Theatre\nAlecky Blythe and “Headphone Verbatim”: a Study of The Girlfriend Experience (2008)\nIV In Conversation with…\nFeeling a Responsibility to Art: An Interview with Ella Hickson\nThe Gordian Knots of Theatre: An Interview with Lucy Kirkwood by Elisabeth Angel-Perez and Aloysia Rousseau\nNotes on Contributors\nIndex of playwrights, theatre practitioners and key concepts