Autour de Sarah Kane par les élèves de l’École de la Comédie de Saint-Étienne by Samuel Cuisinier-Delorme

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Sarah Kane's Cleansed as a Critical Assessment of Disciplinary Power by Yeliz BİBER VANGÖLÜ

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Frames of violence and recent history in Simon Stephens' Motortown by Marion Coste

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Hand to God: The Irreverent Laughter of Robert Askins - “Laugh, motherfuckers, that shit’s funny” (Askins 31) by Marianne Drugeon

Subjects: “…In-yer-Face theatre…”
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Traum-A-Rhythmia On Debbie Tucker Green’s In-Yer-Ear Stage by Lea Sawyers

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In-Yer-Face Tiyatrosunda Şiddet Üzerine Bir Örnek: Yastık Adam by Dilek Zerenler

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Teatralne wojny z kontrolą medialną by Piotr Dobrowolski

“…He attempts to retrace the aesthetic interpretation of the mass media relationship used in theatre, starting from the similar narratives that they both employ (basing on Polish critical reception of in-yer-face theatre). Afterward he moves to a place, where the faith in an image showed onstage is undermining, to the position that counterbalances the trust placed in an onscreen, mass media reality (exploring a practice of The Wooster Group). …”
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“This isn’t tat. This isn’t bric-a-brac” (Phaedra’s Love): the Poetics of Things in Sarah Kane’s Theatre by Éléonore Obis

“…The first plays are often classed as examples of the “In-Yer-Face theatre”, a theatre which shocks through strong language and violent images while the last two plays, Crave and 4.48 Psychosis, tend towards abstraction and put an emphasis on voices in a theatre that has abandoned all conventions. …”
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A Web of Power Circulating in Every Direction: Deleuze and Guattarian Reading of Sarah Kane's Cleansed by Pelin KÜMBET

“…Despite the multiplicity of denitions loosely attributed to this movement, the term “in-yer-face theatre,” appears to be more commonly well-received and more encompassing. …”
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Contemporary Drama and the Question of the Neo-avant-garde Legacy of the 1960s and 1970s by Gašper Troha

“…The subsequent development can be designated by various labels, such as postdramatic theatre, the aesthetics of the performative and, in the case of dramatic texts, the no longer dramatic theatre text, “In-Yer-Face” theatre, etc. In Slovenia, a decisive turn from text to event took place towards the end of the 1960s. …”
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