1. “Later on we’re going to have a few songs like that one – if you know the words, join in” (M.C., The Cheviot, the Stag and the Black, Black Oil). Examine the use of song and/or music in the work of two playwrights studied this term.
2. Manus: For the benefit of the colonist?
   Owen: He’s a decent man.
   Manus: Aren't they all at some level? (Translations).
   Compare how two playwrights studied this term represent the effects of colonialism.
3. “I would not argue for a ‘new’ feminism, but for a continuum: an understanding of feminism as a political field that responds intrinsically and extrinsically to social and cultural change…” (Elaine Aston, Feminist Views on the English Stage). Explore how two playwrights studied this term grapple with feminism.
4. “To create something beautiful about despair, or out of a feeling of despair, is for me one of the most hopeful, life-affirming things a person can do” (Sarah Kane). Consider the ways in which two playwrights studied this term explore trauma.
5. "What I got from the countryside is that unnameable sadness that, for me, gets to the heart of anything worth singing or writing about." (Jez Butterworth). Analyse the significance of setting in the work of two playwrights studied this term.
6. "Ira Aldridge's presence in 19th-century British theatre must have been political. I wrote Red Velvet because I wanted to explore the complexity of that" (Lolita Chakrabarti). Discuss how two playwrights studied this term represent historical persons – recent or old; real or imagined – onstage.
7. “I am obsessed with audiences. How to win them, why some things alienate them, how to draw them in and surprise them, what divides them” (Phoebe Waller-Bridge). Compare and contrast the role of the audience in the work of two playwrights studied this term.
8. Devise a question of your own. To do so, please talk to your seminar tutor before the end of Term 3, Week 2.