Through a series of arresting vignettes and a collection of nameless characters, Alice Birch examines the language, behaviour and forces that shape women in the 21st century. The play asks what's stopping us from doing something truly radical to change them? Written in response to the provocation that well-behaved women seldom make history, the play is an assault on the language that has fueled violence against women throughout history. Problematic language frequently attached to women is interrogated, from lazy sexist clichés to the conventions around a marriage proposal. Through doing so, the play rails against the conventions of work, sex, motherhood, aging and love. Revolt. She said. Revolt again was first performed at the 2014 Midsummer Mischief Festival in Stratford-upon-Avon. It transferred to the Royal Court Upstairs and was more recently produced at New York's Soho Rep. It is published here in a Student Edition alongside commentary and notes by Marissia Fragkou, who locates the play in our contemporary political and cultural context (including second- and third-wave feminism, and the #MeToo movement). “Alice Birch doesn't want this work to be unseen. Her angry and frantic play Revolt. She aaid. Revolt again is an experimental work focused on using a feminist voice which is loud; a feminist voice which seeks to change the world not through small increments but through a revolution: through the destruction of language; through the destruction of society...” ― Guardian “Ms. Birch's play, which became a hit for the Royal Shakespeare Company in 2014, has a way of making you question everything you say when it comes to discussing women and their relationships with men, one another and a world in a state of unending upheaval... Linguistic confusion plagues the frantic souls portrayed... Even the play's title, with its use of periods instead of commas, suggests the difficulty of getting words out and how inadequate they seem when you do... Yet Revolt teems with the same anarchic fury that possessed Jimmy Porter [in Look Back in Anger ] and the same frustrated awareness that there are no easy fixes for an unsatisfactory social system... Instead, Ms. Birch is articulating the alternatives that come to women's minds in dealing with how they are dealt with - as objects of love and lust, as employees and employers, as mothers and daughters.” ― New York Times “Acts One to Three are dialogues. Issues of gender language change into material questions of marriage, of women in capitalism, women raped and colonised, women desperate for refusal of the roles imposed on them. By Act Four, everything is deconstructed and there isn't dialogue anymore... We witness conversations, haunting solo performances, disturbing statements about or directed to women, and a lack of genuine solutions provided in a system that benefits from oppression... In many ways, this play is a call to arms. It exposes the contradictions in simply refusing sexism in words, which is promoted as “revolutionary” by the very agents of the status quo.” ― Diva Mag Alice Birch is a British playwright and screenwriter. Her previous work includes Peckham: The Soap Opera and Revolt . She Said. Revolt Again (RSC). Other credits include: We Want You To Watch (National), The Lone Pine Club (Pentabus), Little Light (Orange Tree), Little on the Inside (Almeida / Clean Break), Salt (Comedie de Valence), Many Moons (Theatre 503), Flying the Nest (BBC Radio 4) and Lady Macbeth (BBC Films / BFI / Creative England). Alice was the co-winner of the 2014 George Devine Award for Revolt. She said. Revolt Again and winner of the Arts Foundation Award for Playwriting 2014. Jenny Stevens was an Associate Lecturer for the Open University and currently combines educational consultancy work with teaching and writing. She is the co-author with Pamela Bickley of Essential Shakespeare: The Arden Guide to Text and Interpretation (2013) and Shakespeare and Early Modern Drama: Text and Performance (2016). Marissia Fragkou is Assistant Professor of Theatre at the Aristotle University of Thessaloniki, Greece. Her essays on contemporary British and European theatre have been published in Modern Drama , Didaskalia , Performing Ethos , Contemporary Theatre Review and several edited volumes. She is the author of Ecologies of Precarity in Twenty-First Century Theatre: Politics, Affect, Responsibility (Methuen Drama, 2018). Chris Megson is Senior Lecturer in Drama and Theatre at Royal Holloway, University of London. He has taught and published widely in the field of modern drama, and is editor of The Methuen Drama Book of Naturalist Plays . Other works include: Get Real: Documentary Theatre Past and Present (with Alison Forsyth, 2011), and Modern British Playwriting: The 70s: Voices, Documents, New Interpretations (2012). Matthew Nichols graduated from the University of Birmingham in 2003 and has been teaching and leading outstanding