Working through a generational mix of writers, from Sarah Kane, the iconoclastic bad girl of the stage, to the canonical Caryl Churchill, Elaine Aston charts the significant political and aesthetic changes in women's playwriting at the end of the twentieth century. Aston also explores new writing for the 1990s in theater by Sarah Daniels, Bryony Lavery, Phyllis Nagy, Winsome Pinnock, Rebecca Prichard, Judy Upton and Timberlake Wertenbaker.
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