Frances Babbage is Senior Lecturer in Theatre and Performance at the University of Sheffield.

• Introduction1. The lie of the landTheorising mythRe-visioning mythStaging myth: Hella Haasse’s A Thread in the Dark2. Political actsFuriously funny: The Same Old Story and Medea, by Franca Rame and Dario Fo‘And she stopped the world’: Sarah Daniels’ Neaptide3. Out of characterNothing sacred: Maureen Duffy’s Rites‘I don’t know what got into me’: Caryl Churchill’s and David Lan’s A Mouthful of BirdsMaking silence speak: Timberlake Wertenbaker’s The Love of the Nightingale:4. Stages of subjectivityThe voices within: Serena Sartori, Renata Coluccini and Demeter Beneath the Sand Hélène Cixous and the scene of the unconscious: The Name of Oedipus: Song of the Forbidden BodyThe scene of history: Cixous’s The Perjured City, or the Awakening of the Furies5. New directionsShock treatment: Sarah Kane and Phaedra’s Love‘I’ve got the feeling we’ll be eternal’: Hrafnhildur Hagalín’s Easy Now, ElectraIn pieces: Gilla Cremer’s m.e.d.e.aBibliography

Selective yet impressively comprehensive . . . Highly recommended.J. Artman, CHOICE May 2012This is a valuable contribution to the study of female playwrights . . . Teachers and students will find this a strong resource with its discrete sections on each play but Babbage’s study also offers a more detailed and sophisticated critique for those seeking a deeper engagement with a book rich in literary and theoretical perspectives.Gilli Bush-Bailey, Theatre Research International, volume 37 issue 03, October 2012

Frances Babbage is Senior Lecturer in Theatre and Performance at the University of Sheffield.

• Introduction1. The lie of the landTheorising mythRe-visioning mythStaging myth: Hella Haasse’s A Thread in the Dark2. Political actsFuriously funny: The Same Old Story and Medea, by Franca Rame and Dario Fo‘And she stopped the world’: Sarah Daniels’ Neaptide3. Out of characterNothing sacred: Maureen Duffy’s Rites‘I don’t know what got into me’: Caryl Churchill’s and David Lan’s A Mouthful of BirdsMaking silence speak: Timberlake Wertenbaker’s The Love of the Nightingale:4. Stages of subjectivityThe voices within: Serena Sartori, Renata Coluccini and Demeter Beneath the Sand Hélène Cixous and the scene of the unconscious: The Name of Oedipus: Song of the Forbidden BodyThe scene of history: Cixous’s The Perjured City, or the Awakening of the Furies5. New directionsShock treatment: Sarah Kane and Phaedra’s Love‘I’ve got the feeling we’ll be eternal’: Hrafnhildur Hagalín’s Easy Now, ElectraIn pieces: Gilla Cremer’s m.e.d.e.aBibliography

Selective yet impressively comprehensive . . . Highly recommended.J. Artman, CHOICE May 2012This is a valuable contribution to the study of female playwrights . . . Teachers and students will find this a strong resource with its discrete sections on each play but Babbage’s study also offers a more detailed and sophisticated critique for those seeking a deeper engagement with a book rich in literary and theoretical perspectives.Gilli Bush-Bailey, Theatre Research International, volume 37 issue 03, October 2012

Frances Babbage is Senior Lecturer in Theatre and Performance at the University of Sheffield.

• Introduction1. The lie of the landTheorising mythRe-visioning mythStaging myth: Hella Haasse’s A Thread in the Dark2. Political actsFuriously funny: The Same Old Story and Medea, by Franca Rame and Dario Fo‘And she stopped the world’: Sarah Daniels’ Neaptide3. Out of characterNothing sacred: Maureen Duffy’s Rites‘I don’t know what got into me’: Caryl Churchill’s and David Lan’s A Mouthful of BirdsMaking silence speak: Timberlake Wertenbaker’s The Love of the Nightingale:4. Stages of subjectivityThe voices within: Serena Sartori, Renata Coluccini and Demeter Beneath the Sand Hélène Cixous and the scene of the unconscious: The Name of Oedipus: Song of the Forbidden BodyThe scene of history: Cixous’s The Perjured City, or the Awakening of the Furies5. New directionsShock treatment: Sarah Kane and Phaedra’s Love‘I’ve got the feeling we’ll be eternal’: Hrafnhildur Hagalín’s Easy Now, ElectraIn pieces: Gilla Cremer’s m.e.d.e.aBibliography

Selective yet impressively comprehensive . . . Highly recommended.J. Artman, CHOICE May 2012This is a valuable contribution to the study of female playwrights . . . Teachers and students will find this a strong resource with its discrete sections on each play but Babbage’s study also offers a more detailed and sophisticated critique for those seeking a deeper engagement with a book rich in literary and theoretical perspectives.Gilli Bush-Bailey, Theatre Research International, volume 37 issue 03, October 2012