​Lisa Fitzpatrick is Senior Lecturer in Drama in the School of Arts and Humanities, University of Ulster, UK. She is a founding member of the Irish Society for Theatre Research, and the editor of Performing Feminisms in Contemporary Ireland (2013), Performing Violence in Contemporary Ireland (2010), Le théâtre irlandais au carrefour des modernités (Annuaire théâtral, 40), and Pre-, Past-, and Neo- Colonialisms: Wole Soyinka and Contemporary Theatre (Modern Drama, 45:3, 2002).

“Fitzgerald’s analyses concentrate on themes, affects, and representational strategies. … The tone of Fitzpatrick’s Rape on the Contemporary Stage is more matter-of-fact. … both studies offer substantial contributions to the field of theatre and drama.” (Anette Pankratz, Journal of Contemporary Drama in English, Vol. 8 (2), 2020)“Graduate students, scholars and professionals interested in gender representation in media might find this book useful to better understand how gender representations manifest themselves in media such as theatre.” (Morgan Danker, CBQ Communication Booknotes Quarterly, Vol. 51 (3-4), 2020)

• 1. Introduction.- 2. Rape on the Naturalistic Stage: the example of Miss Julie.- 3. Women Playwrights: Subverting Representational Strategies.- 4. The Body of a Woman as a Battlefield: Rape and Conflict.- 5. Eroticism, Vulnerability, and Affect.- 6. In Extremis: Staging Rape in the 2010s.- 7. Conclusion.

​Lisa Fitzpatrick is Senior Lecturer in Drama in the School of Arts and Humanities, University of Ulster, UK. She is a founding member of the Irish Society for Theatre Research, and the editor of Performing Feminisms in Contemporary Ireland (2013), Performing Violence in Contemporary Ireland (2010), Le théâtre irlandais au carrefour des modernités (Annuaire théâtral, 40), and Pre-, Past-, and Neo- Colonialisms: Wole Soyinka and Contemporary Theatre (Modern Drama, 45:3, 2002).

“Fitzgerald’s analyses concentrate on themes, affects, and representational strategies. … The tone of Fitzpatrick’s Rape on the Contemporary Stage is more matter-of-fact. … both studies offer substantial contributions to the field of theatre and drama.” (Anette Pankratz, Journal of Contemporary Drama in English, Vol. 8 (2), 2020)“Graduate students, scholars and professionals interested in gender representation in media might find this book useful to better understand how gender representations manifest themselves in media such as theatre.” (Morgan Danker, CBQ Communication Booknotes Quarterly, Vol. 51 (3-4), 2020)

• 1. Introduction.- 2. Rape on the Naturalistic Stage: the example of Miss Julie.- 3. Women Playwrights: Subverting Representational Strategies.- 4. The Body of a Woman as a Battlefield: Rape and Conflict.- 5. Eroticism, Vulnerability, and Affect.- 6. In Extremis: Staging Rape in the 2010s.- 7. Conclusion.

​Lisa Fitzpatrick is Senior Lecturer in Drama in the School of Arts and Humanities, University of Ulster, UK. She is a founding member of the Irish Society for Theatre Research, and the editor of Performing Feminisms in Contemporary Ireland (2013), Performing Violence in Contemporary Ireland (2010), Le théâtre irlandais au carrefour des modernités (Annuaire théâtral, 40), and Pre-, Past-, and Neo- Colonialisms: Wole Soyinka and Contemporary Theatre (Modern Drama, 45:3, 2002).

“Fitzgerald’s analyses concentrate on themes, affects, and representational strategies. … The tone of Fitzpatrick’s Rape on the Contemporary Stage is more matter-of-fact. … both studies offer substantial contributions to the field of theatre and drama.” (Anette Pankratz, Journal of Contemporary Drama in English, Vol. 8 (2), 2020)“Graduate students, scholars and professionals interested in gender representation in media might find this book useful to better understand how gender representations manifest themselves in media such as theatre.” (Morgan Danker, CBQ Communication Booknotes Quarterly, Vol. 51 (3-4), 2020)

• 1. Introduction.- 2. Rape on the Naturalistic Stage: the example of Miss Julie.- 3. Women Playwrights: Subverting Representational Strategies.- 4. The Body of a Woman as a Battlefield: Rape and Conflict.- 5. Eroticism, Vulnerability, and Affect.- 6. In Extremis: Staging Rape in the 2010s.- 7. Conclusion.