Cool Britannia?: British Political Drama in the 1990s

Enhanced descriptions from Syndetics:

Cool Britannia? draws on new research to create a critical framework for approaching the drama of this period. It examines the work of established playwrights as well as the generation of young writers who emerged in the mid-1990s and explores a wide variety of key issues including cultural politics and constructions of race and gender.

Table of contents provided by Syndetics

• Acknowledgements (p. vii)
• Contributors (p. viii)
• Introduction (p. 1)
• Part I In-yer-face theatre: a reconsideration
• Introduction to part i (p. 19)
• 1 'We all need stories': the politics of in-yer-face theatre (p. 23)
• 2 Cruel britannia (p. 38)
• 3 Harold pinter and poetic politics (p. 56)
• Part II Thatcherism and (post-)feminism
• Introduction to part ii (p. 71)
• 4 Thatcher's children: alienation and anomie in the plays of judy upton (p. 79)
• 5 Middle-class aspirations and black women's mental (ill) health in zindika's leonora's dance, and bonnie greer's munda negra and dancing on blackwater (p. 96)
• 6 A good night out, for the girls (p. 114)
• Part III Nation, devolution and globalization
• Introduction to part iii (p. 133)
• 7 'Mapping the territory': modern Scottish drama (p. 143)
• 8 'The net and the self: colliding views of individuality and nationhood in the pre-devolutionary plays of mark Jenkins and ed thomas (p. 158)
• 9 A legacy of violence: representing loyalism in the plays of gary mitchell (p. 176)
• 10 'Because it feels fucking amazing': recent british drama and bodily mutilation (p. 192)
• 11 Rough theatre (p. 208)
• Bibliography (p. 222)
• Index (p. 239)