In this interview on 22 March 2022 in London, Mesut Gunenc talks to theatre critic and historian Aleks Sierz about how his work has influenced contemporary British drama, why he chose the name ‘in-yer-face theatre’ for 1990s avant-garde plays, and why some writers have rejected the label. They also discuss the differences between experiential and experimental theatre, especially focusing on the work of Anthony Neilson, and finish by considering the key themes that characterize 1990s new writing in Britain.Aleks Sierz is author of the seminal In-Yer-Face Theatre: British Drama Today (Faber, 2001), as well as of other work about new writing and post-war British theatre history. His more recent books include Rewriting the Nation: British Theatre Today (Methuen Drama, 2011), Modern British Playwriting: The 1990s (Methuen Drama, 2012), and Good Nights Out: A History of Popular British Theatre Since the Second World War (Methuen Drama, 2021). He has co-authored, with Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon, 2015). Mesut Gunenc is Assistant Professor in the Department of English Language and Literature at Adnan Menderes University in Turkey. He is the author of Postdramatic Theatrical Signs in Contemporary British Playwrights (Lambert, 2017) and co-editor, with Enes Kavak, of New Readings in British Drama: From the Post-War Period to the Contemporary Era (Peter Lang, 2021). He is currently a visiting postdoctoral scholar at Loughborough University in the UK.

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访谈：当代英国戏剧的主要特征

在 2022 年 3 月 22 日于伦敦举行的这次采访中，Mesut Gunenc 与戏剧评论家和历史学家 Aleks Sierz 谈论了他的作品如何影响当代英国戏剧，为什么他选择“in-yer-face theatre”这个名字来形容 1990 年代的前卫戏剧，以及为什么一些作家拒绝这个标签。他们还讨论了体验式戏剧和实验戏剧之间的区别，特别是关注安东尼·尼尔森的作品，并通过考虑英国 90 年代新写作的关键主题作为结尾。亚历克斯·西尔兹是开创性著作的作者In-Yer-Face Theatre：今日英国戏剧(Faber, 2001)，以及其他关于新写作和战后英国戏剧史的作品。他最近的书包括重写国家：今日英国剧院(Methuen 戏剧, 2011),现代英国剧本：1990 年代（Methuen 戏剧，2012 年），以及晚安：二战以来英国流行戏剧的历史（Methuen 戏剧，2021 年）。他与 Lia Ghilardi 合着，英国戏剧的时间旅行者指南：前四百年（奥伯伦，2015 年）。Mesut Gunenc 是土耳其 Adnan Menderes 大学英语语言文学系的助理教授。他是当代英国剧作家的后戏剧戏剧标志（Lambert，2017 年）和 Enes Kavak 的联合编辑，英国戏剧新读物：从战后到当代（彼得·朗，2021 年）。目前在英国拉夫堡大学做访问博士后。