Titlebook: Anti-War Theatre After Brecht; Dialectical Aestheti Lara Stevens Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Bertolt Bre

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Introduction, of 9/11. The plays I examine are written and devised in precarious times—in times of violent conflict in the Middle East, what President George W. Bush called the ‘War on Terror’, as well as the escalating conditions of the Global Financial Crisis, new revolutionary landscapes in the Middle East an

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,The Théâtre du Soleil’s ,,mpany’s inception in 1964. Since then, the Théâtre du Soleil have collectively devised works that respond to national and international political issues by developing aesthetics that draw upon a range of European and Asian performance traditions. In the post-9/11 period, the company turned their foc

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,Caryl Churchill’s , and ,, Churchill began her career writing radio plays in the 1960s, in the political climate of the Cold War. She was particularly interested in capturing the ambiance of fear and paranoia that was indicative of the Cold War historical moment in the West. With the revival of widespread anxiety during the

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,Elfriede Jelinek’s ,,oetry, theatre texts, polemical essays, anthologies, novels, translations, screenplays, musical compositions, libretti and ballets, film and video art; a large body of work that continues to expand at a rapid rate. A child musical prodigy, Jelinek studied theatre arts and art history at the Universi

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Book 2016rnet has become a key tool for disseminating anti-war play texts and how online social media forums are changing traditional dramatic aesthetics and broadening opportunities for spectator access, engagement and interaction with a work and the political alternatives it puts forward. .