'Anthony Neilson's 2004 play is half a lark, half deadly serious' TIME OUT 'A profane, madcap, Alice-in-Wonderland trip morphs into something much more profound in Anthony Neilson's weirdly compelling 2004 study of mental instability' EVENING STANDARD Lisa Jones is on a journey. It's a colourful and exciting off-kilter trip in search of one lost hour that has tipped the balance of her life. The inhabitants of the wonderful world she finds herself in – Dissocia – are a curious blend of the funny, the friendly and the brutal. This Student Edition of Anthony Neilson's 2004 play, which premiered at the Edinburgh International Festival, features a commentary and notes by anna six. It introduces students to debates surrounding mental health and situates Neilson within a British theatrical tradition, including through an interview with him.

Life's full of clatter, but none of it matters, only who'll hold your paw when you die. What would you do if you lost an hour from your day? How far would you go to rescue what you've lost? In search of a lost hour that that has tipped the balance of her life, Lisa Jones is on a quest through a surreal world, filled with insecurity guards, flying cars, singing polar bears and wild-goose chases. The inhabitants of Dissocia are a curious blend of the funny, the friendly and the downright brutal. Anthony Neilson's cult play is a poignant and comical delve into the nature of mental illness. This edition was published to coincide with the major London revival at Theatre Royal Stratford East in September 2022.

A two-play edition featuring Anthony Neilson's companion plays, The Wonderful World of Dissocia (2004) and Realism (2006), both produced by the National Theatre of Scotland. Produced originally for the 2004 Edinburgh International Festival, The Wonderful World of Dissocia wowed critics and audiences alike. This is a hugely original play, both magical and moving, that confirmed Anthony Neilson as one of major voices in contemporary British Theatre. The entire original cast and creative team have been reunited for this keenly anticipated revival. Lisa Jones is on a journey. It's a colourful and exciting off-kilter trip in search of one lost hour that has tipped the balance of her life. The inhabitants of the wonderful world she finds herself in - Dissocia - are a curious blend of the funny, the friendly and the brutal. As Neilson himself put it, 'If you like Alice in Wonderland but there's not enough sex and violence in it, then Dissocia is the show for you'. Realism premiered at the Edinburgh International Festival in 2006. It follows the life of one man during an ordinary day but veers off from the commonplace to become a deliriously surreal trip inside his wayward imagination. It was described by the Guardian as a 'bold and utterly distinctive all-singing, all-dancing show, like nothing else you'll ever see'.

This book explores the various manifestations of affects in British theatre of the 21st century. The introduction gives a concise survey of existing and emerging theoretical and research trends and argues in favour of a capacious understanding of affects that mediates between more autonomous and more social approaches. The twelve chapters in the collection investigate major works in Britain by playwrights and theatre makers including Mojisola Adebayo, Mike Bartlett, Alice Birch, Caryl Churchill, Tim Crouch and Andy Smith, Rachel De-lahay, Reginald Edmund, James Fritz, David Greig, Idris Goodwin, Zinnie Harris, Kieran Hurley, Lucy Kirkwood, Anders Lustgarten, Yolanda Mercy, Anthony Neilson, Lucy Prebble, Sh!t Theatre, Penelope Skinner, Stef Smith, Kae Tempest and debbie tucker green. The interpretations identify significant areas of tension as they relate affects to the fields of cognition, politics and hope. In this, the chapters uncover interrelations of thought, intention and empathy; they reveal the nexus between identities, institutions and ideology; and, finally, they explore how theatre can accomplish the transition from a sense of crisis to utopian visions.

We will fix it. We will mend it... In the light of a pregnancy, a faithless couple pick apart their relationship, stitch by painful stitch. Can it be mended? Anthony Neilson's dark and intimate new play is a love story set at the extremes of brutality, banality and tenderness. Stitching opened at the Traverse Theatre, Edinburgh, on 2 August 2002 and transferred to the Bush Theatre, London, on 12 September 2002."Explodes with power, discipline, integrity and sheer cruel psychological accuracy ... Neilson's writing has a terrible beauty" Sunday Times "Startlingly rich and challenging, Neilson depicts with aching precision a relationship in which love is undermined by distrust" Time Out "Shattering, shocking...a serious, persuasive account of the blind alleys love can lead us down" Daily Telegraph "A characteristically brave and brutal offering" Independent "A deeply mesmerising, if shocking, experience as a couple smashes through taboo after taboo in a harrowing sexual tug of war" Evening Standard

The central character of Alan Ayckbourn's new play is Susan, a parson's wife, 'one of the most moving and devastating that he has created...' Robin Thornber reviewing the first production in Scarborough in the Guardian.