Contemporary British Theatre
Handbook 2007-08
Introduction
Theatre is arguably the most intrinsically social of the art forms, and the most immediate.
It provides a forum for people to gather, to see the world represented on stage, and to
consider collectively whether that world is as it should be. It has been said that the health
of the British theatre depends on the quality of its playwrights and, while traditional textbased performance is by no means the only significant form of modern drama, it is
certainly true that young playwrights addressing contemporary issues in surprising ways
makes for an exciting and vibrant theatrical scene. The period since the early 1990s has
been a rich one in this respect, and this course is designed to reflect this. The plays you
will be studying are representative of contemporary developments and trends in British
theatre and they are all, in one way or another, about the world and the society that we
live in now.
Four of the plays we will look at are modern classics by authors whose influence on
recent British playwriting has been profound. These are Look Back in Anger by John
Osborne (1956); A Taste of Honey by Shelagh Delaney (1958); The Homecoming by
Harold Pinter (1965); and Lear by Edward Bond (1971). Osborne’s Look Back in Anger
launched an angry assault on a genteel theatre unaccustomed to dealing with the lives of
the lower classes, and influenced generations of writers. Delaney brought something
entirely new to the stage with A Taste of Honey, simply by writing about the life that she
knew as a young working class woman from Salford near Manchester. The Homecoming
is arguably Pinter’s most extreme play, in which what seems at first to be minutely
observed realism gives way to a surreal and disturbing conflict conducted on class and
gender lines. Bond’s play, meanwhile, is an ambitious and at times unrecognisable
version of Shakespeare’s King Lear which uses Brecht’s epic structure to explore an
entire society gone mad.
The majority of the plays we’ll be looking at are more recent, having been first performed
between 1991 and 2005. While each of these is of interest on its own merits, I have tried
to select plays which represent a range of voices and concerns. Beautiful Thing and
Shopping and Fucking present two very different visions of gay sexuality; Yard Gal,
Fallout and Elmina’s Kitchen dramatise inner city criminality; Blasted, Attempts on her
Life and Far Away respond in inventive and challenging ways to the distant violence we
see reported every day; Bondagers, The Beauty Queen of Leenane and The Weir explore
the relationship between traditional rural life and the modern world that is causing it to
disappear; Blue/Orange is about mental health and social inequality; and Breathing
Corpses is about death.
Finally, four of the plays that we will discuss, and which you will have the opportunity to
write about in assessed coursework and in your exam, will be seen in the theatre as an
integral part of the course. For the first term I’ve arranged a very interesting pairing, Noël
Coward’s Present Laughter at the National Theatre and Roy Williams’ Joe Guy in Soho.
Both are plays about dissolute celebrities, but the former is from 1943 and the latter from
2007. I strongly urge you to attend the theatre trips that will be organised or, if you are
unable to join us on the night selected, to see the plays independently at a time more
suitable to you. In the first term you can review one of the plays we see for your first
piece of assessment.
Each week we will spend two hours considering a given play. Usually, there will be an
introduction to the topic followed by readings from the play and group discussion. Where
appropriate, excerpts from filmed versions will be shown. This ought to go without
saying, but please read the play before you attend the class. Lively and informed group
discussion is at the heart of this course, and that can only take place when those present
are familiar with the text. With the exception of Yard Gal, which is included in this
handbook, the plays should all be available in the library and the university bookshop, but
let me know if you have trouble getting hold of them.
Course programme 2007-08
Classes take place on Thursdays at 9.00 am in Room L010.
Term One
Week 1
(October 4th)
Look Back in Anger by John Osborne
Week 2
(October 11th)
A Taste of Honey by Shelagh Delaney
Week 3
(October 18th)
Theatre trip to the National Theatre to see Present Laughter by
Noël Coward on Tuesday, October 16th at 7.30 at the National
Theatre followed by seminar discussion at the usual time
Week 4
(October 25th)
Beautiful Thing by Jonathan Harvey
Week 5
(November 1st)
Shopping and Fucking by Mark Ravenhill
Week 6
(November 8th)
Tutorial week
Week 7
(November 15th)
Blasted by Sarah Kane
Week 8
(November 22nd)
Theatre trip to the Soho Theatre to see Joe Guy by Roy Williams on
Tuesday, November 20th at 7.30 followed by seminar discussion at
the usual time
Week 9
(November 29th)
Bondagers by Sue Glover
Week 10
(December 6th)
The Beauty Queen of Leenane by Martin McDonagh
Week 11
(December 13th)
The Weir by Conor McPherson
Term Two
Week 1
(January 10th)
The Homecoming by Harold Pinter
Week 2
(January 17th)
Yard Gal by Rebecca Prichard
Week 3
(January 24th)
Theatre trip to be arranged
Week 4
(January 31st)
Blue/Orange by Joe Penhall
Week 5
(February 7th)
Attempts on her Life by Martin Crimp
Week 6
Tutorial week
(February 14th)
Lear by Edward Bond
Week 7
(February 21st)
Far Away by Caryl Churchill
Week 8
th
(February 28 )
Week 9
(March 6th)
Theatre trip to be arranged
Week 10
(March 13th)
Breathing Corpses by Laura Wade
Term Three
Week 1
(April 10th)
Elmina’s Kitchen by Kwame Kwei-Armah
Week Two
(April 17th)
Fallout by Roy Williams
Week Three
(April 24th)
Revision class
Week Four
(May 1st)
Free for revision
May 6th – 23rd
Assessment period
Assessment
There will be four assessments on which your grade for this course will be based.
1.
2.
3.
4
Review or seminar presentation (term one)
2,500-3,000 word essay (term one)
2000 word essay (term two)
Two hour exam (term three)
15%
35%
25%
25%
You may not write about the same play in more than one form of assessment.
1.
Review or seminar presentation
a)
Review
Write a 1,500 word review of a play seen as part of the course. Deadline: November 1st.
You should write for a reader who has not seen the show, including essential information
such as what it’s about, where it’s on and who’s in it, but you should write critically and
analytically rather than just descriptively. Refer to all aspects of the performance,
including set, costumes and lighting, but don’t feel you have to write at length on each
unless you have something particular to say. Make sure you argue your points rather than
simply stating your opinions, and illustrate what you say through specific examples.
Make sure you are clear in your mind whether what you say refers to the play in general
or this specific production of it.
If you would like to write a review of a show other than Present Laughter, this may be
possible but you will need to clear it with me.
b)
Seminar presentation (term 1)
Give a presentation to the group about the play which is being studied in that week’s
class. The presentation should last about 12-15 minutes.
The simplest way to approach the presentation is to read the play, think about it and
present your thoughts to the group. You might find it helpful, though, to do some
research around the play’s history, and perhaps to find some reviews or other critical
commentary in order to see what issues it raised for its original audiences. If there is one
aspect of the play that particularly interests you, it might well be a good idea to focus
your presentation on that. If you would like further guidance on where to start, please let
me know.
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Make sure you talk to your audience rather than simply reading a prepared speech
Use visual aids and handouts if they will be helpful
Run through the presentation at home to make sure it is not far too long or much
too short.
2.
2,500-3,000 word essay
Write an essay of between 2,500 and 3,000 words in response to one of the following
questions. Your chances of getting a good grade will be greatly improved if you read and
take note of the ‘guidance on the presentation of written work’ that appears on pp. 14-8
of this handbook. Deadline: January 10th.
a)
‘On 8 May 1956 came the revolution’ (John Russell Taylor). What has led
commentators to describe Look Back in Anger as a revolutionary play, and how
valid do you think this description is? You should refer both to the play’s initial
impact and its lasting influence, and consider some of the different critical views
that have been expressed in the 50 years since its premiere.
b)
Compare the treatment of homosexuality in TWO of the following: Beautiful
Thing, A Taste of Honey, Shopping and Fucking. How fully do you think each
play deals with the positive and negative aspects of gay experience in Britain, and
how does each reflect the time in which it was written?
c)
‘Drama that takes the audience by the scruff of the neck and shakes it until it gets
the message’ (Aleks Sierz). According to Sierz, Shopping and Fucking, Blasted
and The Beauty Queen of Leenane are all examples of ‘in-yer-face theatre’. What
is meant by this term and how helpful a description is it of any TWO of these
plays?
d)
Bondagers, The Beauty Queen of Leenane and The Weir are all set in isolated
rural locations. With reference to TWO of these plays, what view of life in the
countryside emerges, and what do you think is being suggested about the world
the audience live in?
e)
How successfully can drama convey a sense of the authentic day-to-day
experience of ordinary people? Your answer should refer to TWO of the
following: Look Back in Anger, A Taste of Honey, Beautiful Thing, Bondagers,
The Weir, The Beauty Queen of Leenane.
f)
Present Laughter and Joe Guy both portray the troubled life of a celebrity. What
are the similarities and differences in terms of treatment and tone, and how far
does each reflect the period in which it was written?
NB You should not answer this question if you have written a review of either
show.
g)
Discuss the relationship between form and content in any two of the plays studied
this term.
3.
2,000 word essay
Write an essay of around 2,000 words in response to one of the following questions. Your
chances of getting a good grade will be greatly improved if you read and take note of the
‘guidance on the presentation of written work’ that appears on pp. ?? of this handbook. A
question referring to the play considered in Week Three will be added once it is
confirmed what play that will be. Deadline: March 6th.
a)
The Homecoming, Attempts on her Life, Lear and Far Away all depart, to a
greater or lesser extent, from the naturalistic model of drama. With reference to
any TWO of these plays, identify how each author breaks with naturalism and
explore what he or she might have hoped to achieve in doing so.
b)
Discuss the way in which violence is dramatised or referred to in TWO of the
following: Lear, Yard Gal, The Homecoming, Attempts on her Life, Far Away.
What function does the violence serve dramatically and what thematic points
might the dramatist be attempting to make?
c)
Look closely at the way language is used in any TWO of the following: The
Homecoming, Attempts on her Life, Yard Gal, Blue/Orange, Far Away. What
dramatic effects do the playwrights achieve through the use of contemporary
speech patterns? How does the way in which the characters speak inform our view
of them?
d)
Consider the treatment of gender in any TWO of the following: The Homecoming,
Yard Gal, Attempts on her Life, Far Away. To what extent are preconceptions of
the roles of men and women challenged or confirmed?
e)
‘Social realism and Naturalism [are characterised by] a real failure of theatrical
imagination’ (Aleks Sierz). Compare EITHER Yard Gal OR Blue/Orange with
EITHER Attempts on her Life OR Far Away. Do you think drama is more
effective when it attempts to present reality in a direct or in an indirect manner?
f)
How do Lear and Far Away contribute to our understanding of the world we live
in?
4.
Two hour exam
The exam will be in two sections. In Section A you will answer a question on ONE or
TWO of the last four plays to be studied in the course, that is Breathing Corpses,
Elmina’s Kitchen, Fallout and the play seen in the theatre in Week Nine of Term Two. In
Section B you will answer a question on TWO of the plays considered in Weeks 1 – 8 of
Term Two. Last year’s exam is included at the back of the printed version of this
handbook.
Reading list: primary texts
Term One
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John Osborne, Look Back in Anger (Faber)
Shelagh Delaney. A Taste of Honey (Methuen Student Edition)
Noël Coward, Present Laughter (Methuen)
Jonathan Harvey, Beautiful Thing (Methuen) – singly or in Plays: One NB.
Make sure you read the play and not the screenplay of the film.
Mark Ravenhill, Shopping and Fucking (Methuen) – singly in a Student Edition
or in The Methuen Book of Modern Drama
Sarah Kane, Blasted (Methuen) - singly or in either Complete Plays or The
Methuen Book of Modern Drama
Roy Williams, Joe Guy (Methuen)
Sue Glover, Bondagers (Methuen) in Bondagers and The Straw Chair
Martin McDonagh, The Beauty Queen of Leenane (Methuen) – singly or in
either Plays: One or The Methuen Book of Modern Drama
Conor McPherson, The Weir (Nick Hern) – singly or in Plays: Two
Term Two
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Harold Pinter, The Homecoming (Faber) - singly or in Plays: Three
Rebecca Prichard, Yard Gal (Faber) – now out of print, the text appears in this
handbook
Joe Penhall, Blue/Orange (Methuen)
Martin Crimp, Attempts on her Life (Faber) – singly or in Plays: Two
Edward Bond, Lear (Methuen) – singly as a Student Edition or in Plays: Two
Caryl Churchill, Far Away (Nick Hern)
Laura Wade, Breathing Corpses (Oberon)
Term Three
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Kwame Kwei-Armah, Elmina’s Kitchen (Methuen)
Roy Williams, Fallout (Methuen)
All the primary texts (except Yard Gal) are in print, and should be available from the
university bookshop opposite the library. Other recommended retailers include
Amazon.co.uk and the National Theatre bookshop, which can be visited on the South
Bank of the Thames, and which operates a mail order service: email at
bookshop@nationaltheatre.org.uk or telephone on 020 7452 3456. Finally, the Royal
Court theatre bookshop in Sloane Square is worth a visit. Programmes for Royal Court
productions include the complete playtext and many (including The Beauty Queen of
Leenane and The Weir) are available from the Court’s bookshop at a cost of £2.00. They
also offer a mail order service: the email address is bookshop@royalcourttheatre.com
or you can call them on 020 7565 5024.
Reading list: secondary texts
Naturally there are more books covering the plays from the 1950s, 60s and 70s than those
from the 90s and beyond. For several of the more recent plays, Aleks Sierz’s In-Yer-Face
Theatre is the best place to start. A useful resource is the searchable online database of
newspaper articles LexisNexis, available through the library web pages and accessible
via computers on campus. This can be searched for reviews, interviews and other relevant
articles on recent productions and contemporary practitioners. If you are unsure how to
access this service, consult me or Irene Barranco, the Humanities librarian.
Aston, Elaine and Janelle The Cambridge Companion to Modern British Women
Reinelt (eds)
Playwrights (refers to Yard Gal, Blasted and Bondagers)
Batty, Mark
About Pinter: The Playwright and the Work
Billington, Michael
The Life and Work of Harold Pinter
Buse, Peter
Drama + Theory: Critical Approaches to Modern British
Drama (includes chapters on The Homecoming and Blasted)
Coult, Tony
The Plays of Edward Bond: A Study
Devine, Harriet
Looking Back: Playwrights at the Royal Court 1956-2006
(includes long interviews with Martin Crimp, Conor
McPherson, Joe Penhall and Roy Williams)
Dromgoole, Dominic
The Full Room: An A-Z of Contemporary Playwriting
(contains thoughts on Bond, Churchill, Crimp, Harvey, Kane,
McDonagh, McPherson, Osborne, Penhall, Pinter and
Ravenhill)
Elsom, John
Post-war British Theatre (covers the period 1945-1976)
Esslin, Martin
The Peopled Wound: The Plays of Harold Pinter (later
editions published under the titles Pinter: A Study of his Plays
and Pinter the Playwright)
Findlater, Richard (ed.)
At the Royal Court: 25 Years of the English Stage Company
(covers Look Back in Anger and Lear)
Gilleman, Luc
John Osborne: Vituperative Artist
Leach, Robert
Theatre Workshop: Joan Littlewood and the Making of
Modern British Theatre (see with reference to A Taste of
Honey)
Luckhurst, Mary (ed.)
A Companion to Modern British and Irish Drama: 18802005
Rebellato, Dan
1956 and All That: The Making of Modern British Drama
(an interesting re-reading of the theatrical ‘revolution’
instigated by Look Back in Anger)
Russell-Taylor, John
Anger and After: A Guide to the New British Drama, rev. edn
(includes a contemporary account of the impact of Look Back
in Anger)
Saunders, Graham
‘Love Me or Kill Me’: Sarah Kane and the Theatre of
Extremes
Shellard, Dominic
British Theatre since the War (covers the period 1945-2000:
see particularly ‘Look Back in Anger’, pp. 51-57; ‘Harold
Pinter’, pp. 89-95; ‘Gay Drama’, pp. 194-198; and ‘The Royal
Court: The National Theatre of New Writing’, pp. 217-226)
Sierz, Aleks
In-Yer-Face Theatre: British Drama Today (written in 2001,
this includes helpful material on Yard Gal, Blasted and The
Beauty Queen of Leenane as well as setting out what is
involved in the idea of ‘in-yer-face’ theatre)
Sierz, Aleks
The Theatre of Martin Crimp (Methuen)
Stephenson, Heidi and
Natasha Langridge
Rage and Reason: Women Playwrights on Playwriting
(includes a long interview with Sarah Kane)
Trussler, Simon
The Plays of John Osborne: An Assessment
Wandor, Michelene
Look Back in Gender: Sexuality and the Family in Post-war
British Drama (examines Look Back in Anger and other drama
of the period from a feminist perspective)
If you find a text that isn’t on this list but which is helpful to you, please let me know so
that it can be added for future years.
Guidance on the presentation of written work
These pages are designed to help you to avoid some of the most common errors in the layout of
written work. Now you are at level three we have high expectations concerning the standard of
your academic presentation, and you will lose marks for work which is not set out correctly.
Study these guidelines and try to follow them as closely as you can; if you have time, it would be
a good idea to re-read them just before you print your essay, in order to make sure that you have
done everything you could to get the presentation right. Some of what follows – I hope! – you will
be familiar with, but it does no harm to refresh your memory.
First, it’s a good idea to write out the essay question or assignment briefing in full at
the start of your work. Not only will this make sure that the reader knows what the task is
to which you are responding, it will concentrate your mind on exactly what you are being
asked to do. Your first priority in any essay should be to make sure that you answer the
question, and this may not be as straightforward as you initially think it is.
The titles of plays should always be given in italics, e.g. Blasted. This also applies to the
titles of novels, books of criticism and films. The titles of articles are given in inverted
commas, e.g. ‘Reality Sucks: The Slump in British New Writing’.
Essays should be written in paragraphs. Paragraphs contain a number of related
sentences that combine to make a particular point, just as a number of paragraphs
combine to convey the overall argument of your essay. Every essay should have an
introductory and a concluding paragraph, and no paragraph should ever consist of just
one sentence. Paragraphs should be separated from one another by a blank line, and the
first line of each paragraph should be indented using the tab key.
All essays should be double-spaced so that I have room to make detailed comments on
your work. In Microsoft Word a passage can be double-spaced by selecting it, then
clicking on ‘Format’ on your toolbar, then ‘Paragraph’ and then, on the ‘Indents and
spacing’ window, selecting ‘double’ or ‘1.5 lines’ as your ‘Line spacing’.
Every essay must include a bibliography, in which all the books and/or articles that you
have consulted are listed alphabetically by author. Information on the place of
publication, name of publisher and year of publication should be given as in the
following example (n.b. you don’t have to put it in a box!):
Kane, Sarah, Blasted, in Complete Plays, London: Methuen, 2001.
A collection of essays is listed by its editor, as in:
Raby, Peter (ed.), The Cambridge Companion to Harold Pinter, Cambridge:
Cambridge University Press, 2001.
Alternatively, if you only refer to one essay in a collection, you can choose to list that
essay in your bibliography by its author, like this:
Stokes, John, ‘Pinter and the 1950s’, in Peter Raby (ed.), The Cambridge Companion
to Harold Pinter, Cambridge: Cambridge University Press, 2001, pp. 28-43.
If you quote from the internet in your essay, your bibliography must include the author
and title of the work as well as the URL (the full web address) and the date on which you
accessed that site. Internet citations should look like this:
Sivanandan, A, ‘Britain’s Shame: From Multiculturalism to Nativism’, Institute of
Race Relations, http://www.irr.org.uk/2006/may/ha000024.html (accessed 14 Mar.
2007).
Often authors and even titles are missing from internet articles, and this may well be a
sign that the piece is not an authoritative one and is therefore of little use to you. Our
advice is to use the internet selectively if you use it at all. The bulk of the material
available online is not of degree-level standard and much of it is unreliable. No-one is
impressed by a quote from Wikipedia or Sparknotes.
Full guidance on quoting from plays appears overleaf. You will note that, in all cases, a
page reference must be given. This allows the reader of your essay to look up the
passage that you have quoted for him or herself. Page references can seem confusing but
there is always a way to present the information clearly:
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Quotes from your primary text need only be accompanied by the page number in
brackets, e.g. (p. 12) or (pp. 12-13) if your quote goes over more than one page.
Quotes from other texts, for instance critical works, should be accompanied by the
author’s name and the page number, e.g. (Sierz, p. 113). You need only give the
author’s name because the reader can find the full reference in your bibliography.
If there is more than one book by the author you are quoting in your bibliography,
you should give the date as well so that it’s clear which one you are referring to,
e.g. ‘Sierz, 2006, p. 44’.
A page reference for a quote from an essay in a collection would look like this:
‘(Stokes, in Raby, p. 35)’.
Lastly, plagiarism is easy for tutors to detect. Penalties for plagiarism vary from a mark
of 0 to failure of the course, the year or even the degree. These penalties are enforced, so
make sure that you provide full references for any material that you use that is not your
own.
Quoting dramatic speech
It is important that quotations from texts are set out clearly and accurately, and according
to the University’s guidelines. These pages show you how to do this.
You will note that every quote is accompanied by a page reference. Page references
refer to the edition of the text you are using, which must be listed in your Bibliography.
The editions used here are Look Back in Anger (Faber) and Bondagers in Bondagers and
The Straw Chair (Methuen). If you are quoting from a single page of text the quotation
should be preceded by ‘p.’ If the quote goes over the page, it should be preceded by ‘pp.’
The best way to quote a passage of dramatic speech that is over two lines long is to
indent the whole quotation (this means that a wider margin appears on the left hand side
of the page). The following example illustrates the main features – the rules or guidelines
– which are then listed.
Jimmy’s long speeches are full of offensive statements, but they are also couched in
language that is vivid and carefully constructed:
Mummy may look over-fed and a bit flabby on the outside, but don’t let that wellbred guzzler fool you. Underneath all that, she’s armour plated –
He clutches wildly for something to shock Helena with.
She’s as rough as a night in a Bombay brothel, and as tough as a matelock’s arm.
(p. 52)
A matelock is a specialised kind of manual worker, this reference showing both Jimmy’s
extensive knowledge and his romantic attachment to a vanishing working class. As the
stage directions indicate, much of what he says is intended to have an effect: whether he
believes his own statements or not is open to question.
Notice:
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You introduce the quotation with a colon (:)
You leave a space before and after the quotation
You indent the whole quotation and set it out exactly as it appears in the text, with
the correct punctuation used in your edition
Where stage directions are quoted, they appear in italics
A page reference is given (the Bibliography cites the edition of the play used)
If you want to include dialogue (two or more characters speaking) you should set it out
as the following example shows you.
Glover shows that settling into live in another woman’s house for a year is an uneasy
process, with the potential for conflict:
LIZA:
MAGGIE:
LIZA:
MAGGIE:
LIZA:
MAGGIE:
I’m Liza. The bondager.
I’m Maggie, his wife. You’ll have seen the bairns, they’re playing
round the doors.
Which are yours?
All of them, nearly.
The wee laddie that kicks?
(Serene) Kicks? Oh, no, never – you must have got in the way. My
bairns wouldna kick. (p. 10)
Our sympathies are likely to be with Liza at this stage.
Notice:
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You introduce the quotation with a colon (:)
You leave a space before and after the whole quotation
You indent the whole quotation
You include the names of the characters who are speaking using capitals,
followed by a colon
You replicate the punctuation exactly as it appears in the original
You give a page reference (the edition you are using will be in the
Bibliography)
If you want to quote a line or a few words you integrate them into your own writing:
When Alison’s father comes to collect her, he is a more sympathetic figure than Jimmy’s
account of him has led the audience to believe. He even acknowledges that his son in law
‘must have had a certain amount of right on his side’ in the matter of the bitterly
contested wedding (p. 65).
Notice:
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You use quotation marks. (N.B. You DON’T use quotation marks for the longer,
indented quotations illustrated above)
You give a page reference (making sure the edition used is in your Bibliography)
You ensure that the sentence that includes the quotation makes grammatical sense
The Bibliography
It is essential that your essay contains a Bibliography and that the Bibliography is set out
properly.
Please use the following very short bibliography as a guide line to show you how to do it.
Copy the format exactly. If you are still not sure refer back to the Guidance on the
presentation of written work, from which some of the individual examples have been
taken, or ask your seminar leader.
The Bibliography should list all the books you have read for the essay, including the
plays, theory, criticism and anything accessed on the Internet. A reader consulting your
Bibliography should have enough details to enable him/her to find the book or article you
list.
Get into the habit of recording the full information on anything you read or borrow from
the library. It will save you a lot of time checking when you come to write your essay.
Bibliography
Glover, Sue, Bondagers, in Bondagers and The Straw Chair, London: Methuen, 1997.
Kane, Sarah, Blasted, in Complete Plays, London: Methuen, 2001.
Osborne, John, Look Back in Anger, London: Faber, 1989.
Sierz, Aleks, The Theatre of Martin Crimp, London: Methuen, 2006.
---------------, ‘“Me and My Mates”: the State of English Playwriting, 2003’, New Theatre
Quarterly 20 (Spring 2004), pp. 79-83.
Sivanandan, A, ‘Britain’s Shame: From Multiculturalism to Nativism’, Institute of Race
Relations, http://www.irr.org.uk/2006/may/ha000024.html (accessed 14 Mar. 2007).
Stokes, John, ‘Pinter and the 1950s’, in Peter Raby (ed.), The Cambridge Companion to
Harold Pinter, Cambridge: Cambridge University Press, 2001, pp. 28-43.
Notice:
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Works are given in alphabetical order by author, surname first.
After the name of the author and the title, the city of publication appears, then the
publisher and the date.
When citing an article in a collection of articles or a journal, give the pages on
which the article appears.
A particular form of punctuation is used – notice the commas, full stops and
colons.
The titles of plays and books should be placed in italics. Do NOT add inverted
commas.
Inverted commas should be used for the titles of articles.
For articles found online, the full web address and date of accessing it are given.
If no author is listed on the site, begin with its name.