Abstract
Mark Ravenhill took the London scene by storm with his controversial Shopping and Fucking (1996), staged only one year after Sarah Kane’s seminal Blasted (1995) and following in its wake. Faust is Dead (1997), Handbag (1998), Some Explicit Polaroids (1999), and Mother Clap’s Molly House (2001) have decisively contributed to the opening up of new ground in British drama, shaping the 1990s trend known as ‘in-yer-face’ theatre. Ravenhill’s latest work includes Totally over You (2003), Moscow (2004), Product (2005, his acting debut), Citizenship (2005), and The Cut (2006). The following interview took place in London on 12 December 2003.
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Notes
A. Sierz, In-Yer-Face Theatre: British Drama Today ( London: Faber, 2001 ), p. 151.
L. Brooks, ‘Without Prejudice’, Guardian, 12 December 2003.
A. Sinfield, Out on Stage: Lesbian and Gay Theatre in the Twentieth Century ( New Haven and London: Yale University Press, 1999 ), pp. 346–7.
R. Eilmann, Oscar Wilde ( London: Hamish Hamilton, 1987 ).
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© 2007 Enric Monforte
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Monforte, E. (2007). Mark Ravenhill. In: Aragay, M., Klein, H., Monforte, E., Zozaya, P. (eds) British Theatre of the 1990s. Palgrave Macmillan, London. https://doi.org/10.1057/9780230210738_8
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DOI: https://doi.org/10.1057/9780230210738_8
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-28189-3
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