Journal of Contemporary Drama in English, 6(1), 191–205. From Chimera to Reality: Lucy Kirkwood’s Chimerica or ‘What State Are We In?’. Dean (Eds.), Contemporary Gothic Drama: Attraction, Consummation and Consumption on the Modern British Stage (pp. The Neoliberal Gothic: Gone Girl, Broken Harbor, and the Terror of Everyday Life. Bolton (Eds.), d ebbie tucker green: Critical Perspectives (pp. Sticking in the Throat/Keyword Bitch: Aesthetic Discharge in debbie tucker green’s s toning mary and h ang. Voice and New Writing, 1997–2007: Articulating the Demos. Globalization/Anti-Globalization: Beyond the Great Divide (2nd ed.). Seventeen Contradictions and the End of Capitalism. The Enigma of Capital and the Crises of Capitalism. Bolton (Eds.), debbie tucker green: Critical Perspectives (pp. debbie tucker green and the Work of Mourning.
I Write Black Characters’: Black Mothers, the Police, and Social Justice in r andom and h ang. Rebellato (Ed.), Modern British Playwriting: 2000–2009 (pp. Staging Black Feminisms: Identity, Politics, Performance. ‘I Was Messing About’: She’s Won Awards and Acclaim, but She’s Still Not Sure She’s a Playwright. Angelaki (Ed.), Contemporary British Theatre: Breaking New Ground (pp. Acting In/Action: Staging Human Rights in debbie tucker green’s Royal Court Plays. London: Methuen.įragkou, M., & Goddard, L. Ecologies of Precarity in Twenty-First Century Theatre: Politics, Affect, Responsibility. Precarious Subjects: Ethics of Witnessing and Responsibility in the Plays of debbie tucker green. The Ascent of Money: A Financial History of the World. Science Fiction and the Theatre of Alistair McDowall. Basingstoke: Palgrave Macmillan.ĭugalin, I. Engaging with Human Rights: t ruth and reconciliation and h ang. Chimerica Production File, THM/LON/COM/2013, London Production Files, V&A Theatre and Performance Archive, Blythe House, London.ĭerbyshire, H., & Hodson, L. In: Programme for Chimerica at the Harold Pinter Theatre. Intimacy and Isolation in Jen Silverman’s Gothic Worlds. Reprinted in Theatre Record, 33(11), 501.Ĭummings, L. Reprinted in Theatre Record, 36(7), 366.Ĭoburn, C. Undoing the Demos: Neoliberalism’s Stealth Revolution. American Nightmare: Neoliberalism, Neoconservatism, and De-Democratization. Basingstoke: Palgrave Macmillan.īrooks, L. Reprinted in Theatre Record, 34(23), 1159.īillington, M. Reprinted in Theatre Record, 33(11), 501.īillington, M. Reprinted in Theatre Record, 33(11), 503.īillington, M. Yarns and Yearnings: Story-Layering, Signifyin’, and debbie tucker green’s Black-Feminist Anger. Sierz (Eds.), The Methuen Drama Guide to Contemporary British Playwrights (pp. Feeling the Loss of Feminism: Sarah Kane’s Blasted and an Experiential Genealogy of Contemporary Women’s Playwriting. Pomona production files, RNT/PR/, National Theatre Archive, London.Īston, E. (2015, August 21) Pomona’s Message Is About Modern Life. Basingstoke: Palgrave Macmillan.Īmbrose, T. debbie tucker green and (the Dialectics of) Dispossession: Reframing the Ethical Encounter. Basingstoke: Palgrave Macmillan.Īdiseshiah, S., & Bolton, J. ‘Change Ain’t Fuckin Polite, Scuse My Language’: Situating debbie tucker green. These disparate spatial and temporal threads come together to evince the extent to which onstage compressions of time and space can vividly capture the neoliberal reconfiguration of social life. Meanwhile, Alistair McDowall’s Pomona (2014) and X (2016) frustrate temporality to convey the intractability of the consumerist ethos and reveal time as a regulatory function of capitalist discipline. Lucy Kirkwood’s Chimerica (2013) dramatises capitalism’s uneven development in China and the United States, while debbie tucker green’s stoning mary (2005) transplants underreported stories more commonly associated with the Global South into working-class England, alerting us to the structural inequities (domestically and internationally) that are a consequence (if not an aim) of the neoliberal state. This chapter discusses the wider implications of global capitalism, per David Harvey’s theorisation of ‘time–space compression’, by analysing plays that theatricalise spatial collapse and temporal acceleration.
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