Latest journal: Volume 24, Issue 3

This issue is available on Taylor & Francis Online:

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Introduction: Dealing with Martin Crimp

Vicky Angelaki In late 2011 Dan Rebellato and I had an idea for a conference focusing on the work of Martin Crimp.We share an ongoing interest in Crimp’s work and knew very well that as opposed to how it may have felt a few years ago, Crimp’s recognition as one of the most important playwrights of our time was on an upward curve. Further to the wide range of Crimp’s activity – he writes, adapts, produces versions of classics, and translates with notable regularity – this was also owing to the interest that Crimp’s work had been steadily receiving from scholars, practitioners and, of course, audiences, in the UK and further afield. At the same time, despite this widening attention, Crimp’s work never featured quite as prominently as that of other contemporary playwrights in, for example, collective volumes that deal with the theatre of a given period. This may be understandable – Crimp’s writing does not fall neatly in a singular period of contemporary theatre, as he has been steadily working professionally since the early 1980s. Attempts on Her Life (1997) may still be considered Crimp’s most well known play, but it is far from the only standout text. By the time this play came to feature in the Royal Court’s repertoire in the late 1990s, Crimp had already been attracting attention from critics as well as audiences for a substantial period of time, particularly since his later plays at the Orange Tree Theatre in the 1980s. It also seemed the right moment to address the distinguishing features of Crimp’s work, the fact that it is refreshingly unpredictable and reliably non-mainstream. By the time of the conference two full-length monographs had already been published on Crimp’s work,while there was also an increasing number of UK and international academic articles and book chapters. It was a good time to dedicate an event to Crimp’s writing, celebrating it in a public forum. This was our motivation for the conference as well as for presenting the work emerging from the event in Contemporary Theatre Review. This Special Issue serves as a medium for documenting and expanding on the rich dialogue that we enjoyed at the conference, but also, most importantly, for sharing this conversation with a broader audience. [read more]

Special Issue: Dealing with Martin Crimp

Guest Editors: Vicky Angelaki and Dan Rebellato


Notes on Contributors pages 305-306

Introduction: Dealing with Martin Crimp Vicky Angelaki
pages 309-314


Alles Weitere kennen Sie aus dem Kino: Martin Crimp at the Cutting Edge of Representation
Vicky Angelaki
pages 315-330

Deconstructive Techniques and Spectral Technologies in Katie Mitchell’s Attempts on Her Life
Rachel Clements
pages 331-341

‘Didn’t see anything, love. Sorry’: Martin Crimp’s Theatre of Denial
Aloysia Rousseau
pages 342-352

Martin Crimp’s Nomadic Voices
Elisabeth Angel-Perez
pages 353-362

Cruel or Tender? Protocols of Atrocity, New and Old
Elizabeth Sakellaridou
pages 363-372


Citational Theory in Practice: A Performance Analysis of Characterisation and Identity in Katie Mitchell’s Staging of Martin Crimp’s Texts
Liz Tomlin
pages 373-377

Martin Crimp at Sala Beckett, Barcelona
Mireia Aragay, Clara Escoda & Enric Monforte
pages 378-389

Fewer Emergencies in Paris: Interpreting the ‘Blank’
Eléonore Obis
pages 390-395


Contemporary British Theatre: Breaking New Ground edited by Vicky Angelaki
Beth Hoffmann
pages 396-397

Histories and Practices of Live Art edited by Deirdre Heddon and Jennie Klein
Heike Roms
pages 397-399

Pleading in the Blood: The Art and Performances of Ron Athey edited by Dominic Johnson
David J. Getsy
pages 399-400

Hold It Against Me: Difficulty and Emotion in Contemporary Art by Jennifer Doyle
Rachel Zerihan
pages 400-402

Performance, Identity, and the Neo-Political Subject edited by Matthew Causey and Fintan Walsh
Hana Worthen
pages 402-404

Performing European Memories: Trauma, Ethics, Politics by Milija Gluhovic
Mischa Twitchin
pages 404-405

The Edinburgh Festivals: Culture and Society in Post-War Britain by Angela Bartie
Sarah Thomasson
pages 405-407

Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances by Robin Nelson
Lindsay Brandon Hunter
pages 407-408

pages 409-421

pages 422-425

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