Traum-A-Rhythmia On Debbie Tucker Green’s In-Yer-Ear Stage by Lea Sawyers

“…At odds with the visual frontality of Sarah Kane or Mark Ravenhill, the playwright’s writing focuses its provocative potency on the ear. …”
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Intertextuality in Selected Narrative Poems of Adébáyọ̀ Fálétí by Arinpe Adejumo, Adefemi Akinseloyin

“…He was a novelist, playwright, poet, scriptwriter and actor when alive. …”
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The Seasons by James Thomson and the Baltic German Poetry about the Seasons in the Era of Baltic Enlightenment by Kairit Kaur

“…James Thomson (1700–1748) was an 18th century Scottish poet and playwright. Son of a Presbyterian minister, he studied at the College of Edinburgh to become a minister (1715–1719). …”
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RADIO PLAYS AS A SPECIAL GENRE IN THE WORK OF E. JELINEK by Tatiana V. Akasheva, Alexandra D. Zharkova

“…However, the author is known not only as a talented novelist and playwright, but also as a public figure who always openly expresses his own point of view on topical and controversial issues and events of today's era. …”
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From Dumas fils’s Étrangère to Wilde’s Aventurière: French Theatrical Forerunners of the Wildean Female Dandy by Ignacio Ramos Gay

“…My aim is thus twofold: first to recognize the debt British playwrights contracted towards French drama and, secondly, to state that French theatrical stereotypes, even when being the main cause of native playwrights’ drowsiness, were also the first step towards the renaissance of English drama, as it can be observed throughout Oscar Wilde’s, Pinero’s, Gilbert’s and Jones’s dramaturgies.…”
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A Brief Survey of Gender Parity in the Theatre Industry by Yeliz Biber Vangölü, Florentina Gümüş

“…In modern times, the inequality between male and female playwrights and theatre practitioners saw only marginal improvement. …”
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Du concept psychiatrique à la métaphore théâtrale : le miroir de l’Autre dans les dramaturgies postcoloniales de Caryl Churchill et de Nick Gill by Liliane Campos

“…This article analyses the role played by psychiatry in the work of British playwrights Nick Gill and Caryl Churchill. Nick Gill’s most recent play, Mirror Teeth (2011), examines contemporary Britain’s xenophobia by reworking ethical questions and metaphors from Churchill’s early plays. …”
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La contrainte comme artifice sur la scène anglaise contemporaine : Tom Stoppard, Martin Crimp, et Caryl Churchill by Élisabeth Angel-Perez

“…It will be my contention here to demonstrate that the literary constraints summoned by Crimp or Kane, these rules or patterns artificially forced on the text from an exterior stance, enable these playwrights to open the breach for a new tragic place within the text.…”
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Le détournement du genre policier sur la scène anglaise contemporaine : One Minute (2003) de Simon Stephens et Orphans (2009) de Dennis Kelly by Aloysia Rousseau

“…There are no answers offered in Kelly’s and Stephens’ plays and violence is relegated to the offstage. These two playwrights are thus reinventing a genre, subverting the codes of both traditional detective fiction and the thriller. …”
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Carol Ann Duffy’s Everyman (2015), A Contemporary Morality Play by Esma Seçen Hınıslıoğlu

“…A myriad of philosophers, writers and playwrights from various societies has tried to establish moral codes of conduct that individuals must obey in order to lead them to a better world. …”
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Looking into the attribute of transcendent genius: George Henry Boker and Robert Conrad’s use of Shakespeare by Ronan Ludot-Vlasak

“…This article explores the literary responses of two nineteenth-century American playwrights to Shakespeare: Robert Conrad (1810-1848) and George Henry Boker (1823-1890). …”
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Witnessing Trauma in Simon Stephens’ Motortown by Mesut Günenç

“…Simon Stephens is one of the most important contemporary playwrights whose popularity spreads out both Britain and continental Europe. …”
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Historical Topicality in Arnold Bennett and Edward Knoblock’s Milestones by Lukas Klik

“…Moreover I also consider these references in the context of the aim of the playwrights in writing the play more generally. Here, I suggest that the topical allusions serve to underpin the play’s main point about the necessity to accept change, especially with regard to the role of women, by illustrating the inevitability of change. …”
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Allured by Satan, the World and the Flesh: Representations of Temptation in Medieval English Drama by Pınar Taşdelen

“…Accordingly, this article aims to analyse the dramatic representations of the temptations by medieval playwrights with references to specific mystery and morality plays in order to reveal how spiritual and earthly temptation is handled in the plays. …”
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Politics, Incarceration, and Innocence in Harold Pinter’s One for the Road and Melih Cevdet Anday’s İçerdekiler by Murathan Gündoğdu

“…In the second part, this study compares the two plays mainly in terms of their treatment of oppression and acts of cruelty against innocent individuals, concluding that the plays show similarities as both playwrights manage to demonstrate a universally horrifying picture of incarceration.…”
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L’Angleterre et l’Écosse au miroir de la fureur : L’Écossaise d’Antoine de Montchrestien et Marie Stuard de Charles Regnault by Frédéric Sprogis

“…Lastly, the issues at stake are of a hagiographic nature, as French playwrights celebrated the Catholic Queen as the innocent victim of the executioner that Elizabeth I had become.…”
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Insurrection and Integration: The Indian “Mutiny” of 1857 and the Theatrical Renegotiation of Ethnic Alterities by Marty Gould

“…In the face of this colonial rebellion, British playwrights produced images of metropolitan cultural consolidation, mobilizing Scottish characters to forge a broader, Celtically inflected British identity that ideologically aligned the people of England and Scotland in clear opposition to the mutinous hordes of India. …”
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Biblical Turns of Phrase, Repetition and Circularity in Oscar Wilde’s Salome by Sébastien Salbayre

“…Written in French and translated into English by Lord Alfred Douglas with the help of the author himself at a time when novelists, poets and playwrights celebrated artifice and started revolutionising the forms of their art, Oscar Wilde’s Salome (1893) created a new language and located radical representational possibilities. …”
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The Short Dramatic Form in the Works of Kostas Ostrauskas and Juozas Erlickas by Neringa Klišienė

“…Micro-drama, miniature, one-shot drama, or ‘dramatized’ proverbs and sayings – these are the playwrights’ own denominations indicating a kind of tendency which emerged at the end of the 20th century, or, at least, the search for an original term or word. …”
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‘Laugh a defiance, Laugh in hope’: Suffrage Comedy and Humour as Political Protest by Eleanor Stewart

“…Whilst hostile anti-suffragist discourse accused feminists of lacking a sense of humour, the comedies portray the resolutely cheerful and feisty female activists as agents of humour. By doing so, the playwrights overturn stereotypes and challenge the conventional gender power dynamics of a patriarchal society in which men dictated laughter. …”
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