Clare Finburgh is an academic in the department of Theatre and Performance at Goldsmiths, University of London, UK. Her research focuses on French, Francophone and UK contemporary performance, notably innovations in French modern and contemporary playwriting and directing; and representations of conflict in UK theatre. She has co-written Jean Genet (with David Bradby, 2011) and co-edited Genet Politics and Performance (2006), Contemporary French Theatre and Performance (2011) and Rethinking Absurdist Theatre: Ecology, the Environment and the Greening of the Modern Stage (Bloomsbury Methuen Drama, 2015).

• Acknowledgements List of Illustrations By Way of an Introduction1. War and/as Spectacle2. Helmets: Soldiering as Spectacle3. Headscarves: ‘Terrorism’ as Spectacle4. Hoods: Human Rights Abuses Omitted from SpectacleConclusion. ‘Violence without Violence’BibliographyIndex

Exploring a gamut of works and issues, from the challenges of realism, to the use of documentary theater produced verbatim from transcripts, to the challenge of not staging “victimhood” while giving voice to victims, this volume fills a gap in the literature. Summing Up: Recommended.

Clare Finburgh is an academic in the department of Theatre and Performance at Goldsmiths, University of London, UK. Her research focuses on French, Francophone and UK contemporary performance, notably innovations in French modern and contemporary playwriting and directing; and representations of conflict in UK theatre. She has co-written Jean Genet (with David Bradby, 2011) and co-edited Genet Politics and Performance (2006), Contemporary French Theatre and Performance (2011) and Rethinking Absurdist Theatre: Ecology, the Environment and the Greening of the Modern Stage (Bloomsbury Methuen Drama, 2015).

• Acknowledgements List of Illustrations By Way of an Introduction1. War and/as Spectacle2. Helmets: Soldiering as Spectacle3. Headscarves: ‘Terrorism’ as Spectacle4. Hoods: Human Rights Abuses Omitted from SpectacleConclusion. ‘Violence without Violence’BibliographyIndex

Exploring a gamut of works and issues, from the challenges of realism, to the use of documentary theater produced verbatim from transcripts, to the challenge of not staging “victimhood” while giving voice to victims, this volume fills a gap in the literature. Summing Up: Recommended.

Clare Finburgh is an academic in the department of Theatre and Performance at Goldsmiths, University of London, UK. Her research focuses on French, Francophone and UK contemporary performance, notably innovations in French modern and contemporary playwriting and directing; and representations of conflict in UK theatre. She has co-written Jean Genet (with David Bradby, 2011) and co-edited Genet Politics and Performance (2006), Contemporary French Theatre and Performance (2011) and Rethinking Absurdist Theatre: Ecology, the Environment and the Greening of the Modern Stage (Bloomsbury Methuen Drama, 2015).

• Acknowledgements List of Illustrations By Way of an Introduction1. War and/as Spectacle2. Helmets: Soldiering as Spectacle3. Headscarves: ‘Terrorism’ as Spectacle4. Hoods: Human Rights Abuses Omitted from SpectacleConclusion. ‘Violence without Violence’BibliographyIndex

Exploring a gamut of works and issues, from the challenges of realism, to the use of documentary theater produced verbatim from transcripts, to the challenge of not staging “victimhood” while giving voice to victims, this volume fills a gap in the literature. Summing Up: Recommended.