IT Software (e.g. word processing, PowerPoint)
Library resources and eResources

The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.

Bull J New British Political Dramatists ( London, Macmillan 1984)
Chambers, Colin and Mike Prior (1987) Playwright's Progress: Patterns of Postwar British Drama (Amber Lane Press)
Croft, Susan. ...she also wrote plays (Faber) 2001
Dromgoole, Dominic. The Full Room (Methuen) 2000
Innes, Christopher (1992) Modern British Drama: 1890-1990 (Cambridge University Press)
Itzin C Stages in the Revolution: Political Theatre in Britain Since 1968 (London, Routledge, 1980)
Rebellato, Dan. 1956 and All That (London, Routledge, 1999)
Sierz, Aleks. In-Yer-Face: British Theatre Today (Faber) 2001
Trussler S (ed) New Theatre Voices of the Seventies ( London, Eyre, Methuen, 1981)
Wandor, Michelene, Post-War British Drama - Looking Back in Gender (London, Routledge

Lectures will outline historical or theoretical context, along with key areas of debate, some of which will be followed up by tutor-led seminars to facilitate further discussion and analysis. Student-led group seminars (15-20 minutes) will enable students to follow through and present findings or analysis within an overall framework set by the module tutor. Students will be expected to give one assessed presentation in each semester to arrive at their overall presentation mark. The writing of an essay will enable students to demonstrate analytical and critical skills in relation to one or more texts.

GROUP SEMINAR PRESENTATIONS, 0.33HRS (40%) [Learning Outcomes 1-4]
COURSEWORK, Essay (60%), 2,500words [Learning Outcomes 1-4]

The module will study and evaluate the changes, continuities, innovations, developments, key moments, themes and politics, of British theatre from the Second World War onwards. Part of the module will examine the developments in British drama - particularly in its more openly political guises - in the light of this period. A range of texts will be examined via lectures and tutor or student-led seminars, along with issues which may include: the relationship between theatre and politics, identity politics (e.g. race, gender, sexuality, disability) and theatrical work, the role of new writing in this period. An underlying theme of the module will be how drama and theatre reflected, produced or provoked debates and ideas about social, cultural and political identity, as well as how the nature and legitimacy of theatre itself was caught up in such debates as the object of critical scrutiny.

Examples of texts which may be studied include:
John Osborne (Look Back in Anger); Arnold Wesker (Roots); Edward Bond (Saved); Caryl Churchill (Top Girls); Caryl Phillips (Strange Fruit); Martin Sherman (Bent). Sarah Kane, (Blasted);; Roy Williams, (Sing Yer Heart Out for the Lads); Mark Ravenhill, (Some Explicit Polaroids), Lucy Kirkwood (NSFW.)