Abstract
The paper situates current developments in British theatre within wider trends towards dystopia and (post-)apocalyptic writing. A central focus is on the role of posthuman elements in dystopian plays which are used to create a constant and pervasive, but mostly unspecific sense of crisis. Two recent works by female playwrights – Dawn King’s Foxfinder (2011) and Stef Smith’s Human Animals (2016) – are compared and related back to Caryl Churchill’s seminal Far Away (2000) to elucidate how the nonhuman comes to be perceived as a threat and how this leads to, and/or supports, a dystopian system and its violent measures. Moreover, both Foxfinder and Human Animals manage to combine absurdist elements that border on the surreal with more or less pronounced didactic implications for the audience, although these connections are realised in different ways by the two playwrights. In this manner, post-apocalyptic dystopian theatre of the early 21st century can become revolutionary rather than regressive.
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