The drama of dying in the early twenty-first century
in Death in modern theatre
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter concerns the drama of dying in the early twenty-first century: a time of increased awareness about issues relating to death and dying, but also of great uncertainty and worry about the end of life – specifically, the form it will take, its duration and the degree of agency one will have. Owing to the interventions of modern medicine, which continually work to extend life, dying in the early twenty-first century can be a protracted process, and may be burdensome both for the dying person and for care-givers. Achieving a ‘good death’ (whatever that might be) is not guaranteed or always readily accomplished. This chapter surveys contemporary attitudes toward death and dying and investigates how they are dramatised and staged in Carol Ann Duffy’s Everyman (2015), Marina Carr’s Woman and Scarecrow (2006), Caryl Churchill’s Here We Go (2015) and Kaite O’Reilly’s Cosy (2016).

Death in modern theatre

Stages of mortality


All Time Past Year Past 30 Days
Abstract Views 59 16 0
Full Text Views 22 11 0
PDF Downloads 10 5 0