William C. Boles holds the Hugh F. and Jeannette G. McKean Chair of English at Rollins College, USA. He is the editor of After In-Yer-Face Theatre: Remnants of a Theatrical Revolution and the author of The Argumentative Theatre of Joe Penhall and Understanding David Henry Hwang. He is the Director of the Comparative Drama Conference.

• AcknowledgementsIntroduction: Post-Truth: A Brief Introduction, William C. Boles (Rollins College, USA)Part 1: Text1. Post-Truth but not Post-Race: The Repeating Realities of Anna Deavere Smith’s Twilight: Los Angeles, 1992 (Heidi Bollinger, Hostos Community College, CUNY, USA)2. Knowing Not What It “Seems”: Re-viewing Caryl Churchill’s Post-Truth World in Glass, Kill, Bluebeard, and Imp, Mamata Sengupta (Islampur College, India)Part 2: Politics3. The Alternative Realities of David Henry Hwang’s Soft Power and Anne Washburn’s Shipwreck, William C. Boles (Rollins College, USA)4. Negotiating the Fifth Wall, Lynn Doboeck (University of Utah, USA)5. When the Play is Not the Thing: The Mueller Report and the Limits of Documentary Drama, Victoria Scrimer (University of Maryland, USA)Part 3: Performance6. Australian Biographical Theater on the Post-Truth Stage, Chris Hay and Stephen Carleton (University of Queensland, Australia)7. Performing Reality: Tina Satter’s Verbatim Staging of an FBI Transcript in Is This A Room, Helen Georgas (Brooklyn College, CUNY, USA)8. Seductive Frames: Digital Aesthetics in Kip Williams' Staging of The Resistible Rise of Arturo Ui (2018), Susanne Thurow (University of New South Wales, Australia)9. Satanic Panic: Performance in the New Culture War, Lewis Church (Birkbeck, University of London, UK)Notes on ContributorsIndex

William C. Boles holds the Hugh F. and Jeannette G. McKean Chair of English at Rollins College, USA. He is the editor of After In-Yer-Face Theatre: Remnants of a Theatrical Revolution and the author of The Argumentative Theatre of Joe Penhall and Understanding David Henry Hwang. He is the Director of the Comparative Drama Conference.

• AcknowledgementsIntroduction: Post-Truth: A Brief Introduction, William C. Boles (Rollins College, USA)Part 1: Text1. Post-Truth but not Post-Race: The Repeating Realities of Anna Deavere Smith’s Twilight: Los Angeles, 1992 (Heidi Bollinger, Hostos Community College, CUNY, USA)2. Knowing Not What It “Seems”: Re-viewing Caryl Churchill’s Post-Truth World in Glass, Kill, Bluebeard, and Imp, Mamata Sengupta (Islampur College, India)Part 2: Politics3. The Alternative Realities of David Henry Hwang’s Soft Power and Anne Washburn’s Shipwreck, William C. Boles (Rollins College, USA)4. Negotiating the Fifth Wall, Lynn Doboeck (University of Utah, USA)5. When the Play is Not the Thing: The Mueller Report and the Limits of Documentary Drama, Victoria Scrimer (University of Maryland, USA)Part 3: Performance6. Australian Biographical Theater on the Post-Truth Stage, Chris Hay and Stephen Carleton (University of Queensland, Australia)7. Performing Reality: Tina Satter’s Verbatim Staging of an FBI Transcript in Is This A Room, Helen Georgas (Brooklyn College, CUNY, USA)8. Seductive Frames: Digital Aesthetics in Kip Williams' Staging of The Resistible Rise of Arturo Ui (2018), Susanne Thurow (University of New South Wales, Australia)9. Satanic Panic: Performance in the New Culture War, Lewis Church (Birkbeck, University of London, UK)Notes on ContributorsIndex

William C. Boles holds the Hugh F. and Jeannette G. McKean Chair of English at Rollins College, USA. He is the editor of After In-Yer-Face Theatre: Remnants of a Theatrical Revolution and the author of The Argumentative Theatre of Joe Penhall and Understanding David Henry Hwang. He is the Director of the Comparative Drama Conference.

• AcknowledgementsIntroduction: Post-Truth: A Brief Introduction, William C. Boles (Rollins College, USA)Part 1: Text1. Post-Truth but not Post-Race: The Repeating Realities of Anna Deavere Smith’s Twilight: Los Angeles, 1992 (Heidi Bollinger, Hostos Community College, CUNY, USA)2. Knowing Not What It “Seems”: Re-viewing Caryl Churchill’s Post-Truth World in Glass, Kill, Bluebeard, and Imp, Mamata Sengupta (Islampur College, India)Part 2: Politics3. The Alternative Realities of David Henry Hwang’s Soft Power and Anne Washburn’s Shipwreck, William C. Boles (Rollins College, USA)4. Negotiating the Fifth Wall, Lynn Doboeck (University of Utah, USA)5. When the Play is Not the Thing: The Mueller Report and the Limits of Documentary Drama, Victoria Scrimer (University of Maryland, USA)Part 3: Performance6. Australian Biographical Theater on the Post-Truth Stage, Chris Hay and Stephen Carleton (University of Queensland, Australia)7. Performing Reality: Tina Satter’s Verbatim Staging of an FBI Transcript in Is This A Room, Helen Georgas (Brooklyn College, CUNY, USA)8. Seductive Frames: Digital Aesthetics in Kip Williams' Staging of The Resistible Rise of Arturo Ui (2018), Susanne Thurow (University of New South Wales, Australia)9. Satanic Panic: Performance in the New Culture War, Lewis Church (Birkbeck, University of London, UK)Notes on ContributorsIndex