Titlebook: After In-Yer-Face Theatre; Remnants of a Theatr William C. Boles Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive

evanescent

Philip Ridley: Still In-Yer-Face’s unsparing dramaturgy makes the case for him as the most In-Yer-Face playwright today. From the 1990s to the present (including the infamous .), his plays combine sex, violence, and shock in order to disturb audiences while advancing a surprisingly humanist agenda. The other great paradox of Ridle

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“Experiential, not speculative”: Love In and After In-Yer-Faceuses on “directness” and “experientiality” as its most characteristic features. Rather than the mere presence of shocking scenes, the argument runs, it is the underlying attempt to address the audience not so much on a cognitive but primarily on a pre-discursive and affective level that defines In-Y

Popcorn

The Echo Chamber: Theater in a “Post-Truth” Worldich, by the mid-nineties, had been overthrown by the postmodern skepticism that defined the era. He considers key contemporary debates surrounding postmodernity in order to examine the specific status of “truth” and “authenticity” within the surge of verbatim theater practice that followed the new w

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Crime, Justice and Social Democracynd what the play might have to say to modern-day audiences, Newberry examines alternative themes of love, tenderness and male/male desire and the ways in which these have traditionally been misread through the discourse of toxic masculinity.

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The Criminal: Myth and Reality,matic works, examining their unique style and structure within the context of the In-Yer-Face aesthetic. Oldham makes a case for this underappreciated artist as perhaps the last true In-Yer-Face writer.

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