Alice Birch

Katherine Chandler

Suhayla El-Bushra

Sarah Daniels

Deborah Bruce

Katie Hims

Sonya Hale

Linda Brogan

Clean Break is a British theatre company set up in 1979 by two women in prison. It exists to tell the stories of women with experience of the criminal justice system and to transform women's lives through theatre. Over 40 years, Clean Break has commissioned some of the most progressive and brilliant women writers to write ground-breaking plays, alongside developing the writing skills of the women they work with in its London studios and in prisons. This is a collection of monologues from this canon. Rebel Voices: Monologues for Women by Women celebrates the opportunities inherent when women represent themselves. Offering female performers a diverse set of monologues reflecting a range of characters in age, ethnicity and lived experience, the material is drawn from a mix of published and unpublished works. This book is for any performer who does not see themselves represented in mainstream plays, for lovers of radical women's theatre and for rebels everywhere who believe that the act of speaking and being heard can create change.

Celebrating 40 Years of Clean Break Theatre Company

Rebel Voices: Monologues for Women by Women

I think it's sad. A sad place. Full of sad people with fucked-up lives. And I thinks, how? How did they get there? How did they get to this? What was it? What happened that got them there? Cos you're not just born into it, are you. You're not born into being fucked up? Steph is fifteen years old. Simon is her teacher. Both live in Cardiff but their parallel lives couldn't be more different. When an accusation is made and their worlds collide, things aren't as simple as they might seem. Award-winning playwright Katherine Chandler explores truth, class and power in contemporary Wales in this gripping, uncompromising play. It received its world premiere on 20 November 2013 at Chapter Arts Centre, Cardiff, and won the inaugural Wales Drama Award.

Parallel Lines

Unmanning studies the conditions that create unmanned platforms in the United States through a genealogy of experimental, pilotless planes flown between 1936 and 1992. Characteristics often attributed to the drone—including machine-like control, enmity and remoteness—are achieved by displacements between humans and machines that shape a mediated theater of war. Rather than primarily treating the drone as a result of the war on terror, this book examines contemporary targeted killing through a series of failed experiments to develop unmanned flight in the twentieth century. The human, machine and media parts of drone aircraft are organized to make an ostensibly not human framework for war that disavows its political underpinnings as technological advance. These experiments are tied to histories of global control, cybernetics, racism and colonialism. Drone crashes and failures call attention to the significance of human action in making technopolitics that comes to be opposed to “man” and the paradoxes at their basis.

How Humans, Machines and Media Perform Drone Warfare

Unmanning

Winsome Pinnock

Sabrina Mahfouz

Bryony Lavery

Rebecca Lenkiewicz

Natasha Marshall

Chinoyerem Odimba

Rena Owen

Rebecca Prichard

Chloe Moss

Ursula Rani Sarma

Shelley Silas

Sandrine Uwayo

Anna Reynolds

Somalia Seaton

Naomi Wallace

Lucy Kirkwood

Jacqueline Holborough

Morgan Lloyd-Malcolm

Daisy King

Vivienne Franzmann

Lin Coghlan

Annie Caulfield

Raina Dunne

Danni Brown

Laura Lomas

Theresa Ikoko

A new play from the award-winning writer of Bird.

Thick as Thieves

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

AS CALIFORNIA WILD FLOWERS GRO

Katherine Chandler

Books

Your next favorite book is out there