Dr Vicky Angelaki BA (Hons), MA, PG Cert, PhD

Photo of Vicky Angelaki

Department of Drama and Theatre Arts
Head of Postgraduate Research EDACS

Contact details

The Old Library (SOVAC)
998 Bristol Road
B29 6LG

I have worked at the University since 2012. I previously held the position of Lecturer in English and Drama at Birmingham City University (2009-12) and lectured at the Drama and English Departments at Royal Holloway (2006-08). My work primarily focuses on contemporary and modernist British, European (especially Austrian, German, French) and American theatre and its intersection with society, politics and philosophy.


BA (Hons) - English Language and Literature, Aristotle University of Thessaloniki

MA in Research (Theatre) - Royal Holloway, University of London

Postgraduate Certificate in Skills of Teaching to Inspire Learning - Royal Holloway, University of London

Doctor of Philosophy - Royal Holloway, University of London

Associate Status - HEA


I joined the University of Birmingham as Lecturer in Drama in 2012, having held a full-time Lectureship at Birmingham City University from 2009-2012 and having taught extensively at Royal Holloway, University of London. My scholarship-funded Doctoral study at Royal Holloway focused on defamiliarization in the work of Martin Crimp through a phenomenological investigation.

I have published extensively within my research areas and you can find further details on my publications in the relevant section of my profile.

I have organized a number of symposia, conferences and public engagement events, most notably Contemporary British Theatre: Towards a New Canon (BCU 2010), Dealing with Martin Crimp (with Dan Rebellato, Royal Court Theatre, 2013), Metaphysical Speculations in Contemporary British Theatre (with Chris Megson and Liz Tomlin, University of London, 2013), Thomas Ostermeier: Reinventing Directors’ Theatre at the Schaubühne Berlin (with Peter Boenisch and Clare Finburgh, Central School of Speech and Drama/ Barbican Centre, 2014) as well as an interim symposium on Radical Adaptation (with Jacqueline Bolton, Sarah Grochala and Kara Reilly, Almeida Theatre, 2014) and the TaPRA Directing and Dramaturgy working group’s sessions on Adaptation (RHUL 2014), while I served as co-convenor for the group in 2013-14. I am currently co-organizing a conference on theatre, climate change and the economy with Graham Saunders (Department of Drama and Theatre Arts, University of Birmingham, 2016).

I collaborate with theatres and performance companies in relation to my research expertise (programme notes, public talks).

At Royal Holloway I was one of the founding editors of the academic journal Platform in 2006. I have been a peer reviewer for PlatformContemporary Theatre ReviewJCDE, New Theatre Quarterly, Performing Ethos, Studies in Theatre and Performance, Bloomsbury/ Methuen Drama, Palgrave Macmillan, and Taylor & Francis.  

My first monograph, The Plays of Martin Crimp: Making Theatre Strange was published by Palgrave Macmillan in 2012. My next book, the edited collection Contemporary British Theatre: Breaking New Ground was published by Palgrave Macmillan in September 2013.

I am currently completing my second monograph Social and Political Theatre in 21st Century Britain: Staging Crisis for the Methuen Drama Engage series (edited by Mark Taylor-Batty and Enoch Brater).

I edit, with Kara Reilly, the new international series Adaptation in Theatre and Performance (Palgrave Macmillan, launching in 2016).


I have taught extensively in the Department on the modules Dramatic Medium (Year 1), Performance, Theory, Practice, Critique (Year 1), Theatre Practice (Year 1), Modern Drama: Ibsen to Pinter (Year 2), Theatre Praxis (Year 2), Playwright’s Theatre (Year 3) and Theatre and Social Crisis (Year 3).

I also lecture on the MRes Playwriting programme and supervise UG research (both theory- and practice-based).

In the academic year 2015-16 I am on Research Leave in the Autumn Term and I will be teaching on my Year 3 Study Options Playwright’s Theatre and Theatre and Social Crisis in the Spring Term.

Postgraduate supervision

I currently supervise a number of PGR students (MA by Research and PhD) working on diverse areas of contemporary theatre research and I have successfully supervised PhD projects to completion. I always welcome enquiries from prospective students interested in new writing, modernism, adaptation, translation (English, French, German, Greek), German-language theatre practices, and/or the intersections between theatre, sociology and philosophy.



My research is internationalist, with a specialism in post-1800s British and European theatre (the latter primarily in Austria, Germany and France), translation, adaptation, spectatorship and citizenship, aesthetics and politics, as well as performance, critical/cultural theories and philosophy (with a focus on phenomenology and sociology). I present my work in theatre conferences very regularly and deliver invited papers/workshops/lectures on my areas of expertise in the UK and internationally.

Other activities

I run the Thinking Theatre blog at www.vickyangelaki.com, where I engage with topical concerns in theatre performance, research and teaching. I have an international network of research collaborations with academics and artists in Europe and have had associations with professional bodies such as TaPRA, IFTR/FIRT, ESSE and CDE.

At the School of English, Drama and American & Canadian Studies I am the new Head of PGR, taking up my role in January 2016.


Please note these are my existing publications. I also have a number of commissioned journal articles and book chapters forthcoming, currently in press. My next monograph, Social and Political Theatre in 21st Century Britain: Staging Crisis, which I am currently completing, will be published by Bloomsbury as part of the Methuen Drama Engage series in 2016.


2012  The Plays of Martin CrimpMaking Theatre Strange. Basingstoke and New York: Palgrave Macmillan.

Single-edited Collection (as Editor and Author)

2013  Contemporary British TheatreBreaking New Ground. Basingstoke and New York: Palgrave Macmillan.

Journal Special Issue (as Editor and Author)

2014 Contemporary Theatre Review 24.3, Dealing with Martin Crimp.

Journal Articles and Essays

2015 ‘(Up)Setting the Scene: Open Court as Staging and Spectating Intervention’. Contemporary Theatre Review 25.4: 472-87.

—. ‘From History to “Ourstories” in Martin Crimp’s Metanarratives’. Journal of Contemporary Drama in English 3.1 (2015): 142-55.

2014 ‘Introduction: Dealing with Martin Crimp’. Contemporary Theatre Review 24.3 (2014): 307-12.

—. ‘Alles Weitere kennen Sie aus dem Kino: Martin Crimp at the Cutting Edge of Representation’. Contemporary Theatre Review 24.3 (2014): 313-28.

2013  ‘Whose Voice? Tim Crouch’s The Author and Active Listening on the Contemporary Stage’. Sillages Critiques 16 (2013)http://sillagescritiques.revues.org/2989 

2011  ‘Martin Crimp and Border Crossing: The Australian Turn’. Contemporary Theatre Review 21.4 (2011): 544-46.       

2010  ‘Lessons from Harold Pinter’. Studies in Theatre and Performance 30.3 (2010): 267-73.

2006  ‘The Private and the Public Wars: A Play by Martin Crimp’. Platform:Postgraduate eJournal of Theatre and Performing Arts 1.1 (2006): 32-41.

Chapters in Edited Collections

2014 ‘Witness or Accomplice? Unsafe Spectatorship in the Work of Anthony Neilson and Simon Stephens’. Ethical Speculations in Contemporary British Theatre. Ed. Mireia Aragay and Enric Monforte. Basingstoke and New York: Palgrave Macmillan. 135- 51.

2013  ‘Politics for the Middle Classes: Contemporary Audiences and the Violence of Now’. Contemporary British TheatreBreaking New Ground. Ed. Vicky Angelaki. Basingstoke and New York: Palgrave Macmillan. 57-78.

2010  ‘Ethics Take Centre Stage: Issues and Representation for Today’s Political Theatre’. Ethical EncountersBoundaries of TheatrePerformance and Philosophy. Ed. Daniel Meyer-Dinkgräfe and Daniel Watt. Newcastle: Cambridge Scholars Publishing, 2010. 199-207.

—. ‘Pushing Frontiers, Challenging Spectators: The Reception of Howard Barker’/ ‘Grenzen hinausschieben, Zuschauer herausfordern: Zur Rezeption Howard Barkers’. Weltbühne Wien/World Stage Vienna: Die Rezeption Anglophoner Dramen auf Wiener Bühnen des 20. Jahrhunderts. Vol.2. Ed. Ewald Mengel, Rudolf Weiss et al. Trier: Wissenschaftlicher Verlag Trier, 2010. 297-311.

2009  ‘Breaking down Barriers High and Low: The Case of the UK’s National Theatre’.High Culture and/versus Popular Culture. Ed. Sabine Coelsch-Foisner and Dorothea Flothow. Heidelberg: Winter, 2009. 85-93.

2008  ‘Subtractive Forms and Composite Contents: Martin Crimp’s Fewer Emergencies’. Contemporary Drama in English (CDE15. Ed. Ellen Redling and Peter Paul Schnierer. Trier: Wissenschaftlicher Verlag Trier, 2008. 31-46.

—. ‘Taking a Bite of the Big Apple: Martin Crimp’s The Treatment’. Hunger on the Stage. Ed. Elisabeth Angel-Perez and Alexandra Poulain. Newcastle: Cambridge Scholars Publishing, 2008. 257-67.

2007  ‘Performing Phenomenology: The Theatre of Martin Crimp’. Theatres of Thought. Ed. Daniel Meyer-Dinkgräfe and Daniel Watt. Newcastle: Cambridge Scholars Publishing, 2007. 6-12.

—. ‘Structuring Consciousness through Objects: Fluctuating Roles and Selves in Crimp, Pinter and Ionesco’. Consciousness, Theatre, Literature and the Arts 2007. Ed. Daniel Meyer-Dinkgräfe. Newcastle: Cambridge Scholars Publishing, 2007. 126-33.


2014 Performing European Memories: Trauma, Ethics, Politics, by Milija Gluhovic. New Theatre Quarterly 30.3 (2014): 299-300. 

—. Sublime Drama: British Theatre of the 1990s, by Elżbieta Baraniecka. Journal of Contemporary Drama in English 2.1 (2014): 196-99.

2012  Automata and Mimesis on the Stage of Theatre History, by Kara Reilly.Contemporary Theatre Review 22.3 (2012): 430-31.

2011  Rewriting the Nation: British Theatre Today, by Aleks Sierz. New Theatre Quarterly 27.4 (2011): 395-96.

2008  HysteriaTrauma and MelancholiaPerformative Maladies in Contemporary Anglophone Drama, by Christina Wald. Journal for the Study of British Cultures 15.1 (2008): 90-91.

2007  Here We StandPolitics, Performers and Performance, by Colin Chambers.PlatformPostgraduate eJournal of Theatre and Performing Arts 2.1 (2007): 111-14.