A lack of “well-made” plot, fragmented characters, non-naturalistic settings, the central importance of physical action, communication on the point of breakdown – these dramatic qualities feature prominently both in the Theatre of the Absurd and English In-Yer-Face plays written in the 1990s by young authors like Sarah Kane or Jez Butterworth. How can we account for such widely distributed similarities? Focussing on the basic dramatic categories of structure, character conception, setting, the body on the stage and language/dialogue, the author isolates, from a 21st century perspective, central characteristics and stylistic devices of absurdist theatre. Providing detailed analyses featuring numerous examples, she traces the advancement and ongoing use of these devices in In-Yer-Face plays, ultimately suggesting an alternative to the problematic concept of an influence by relating both kinds of drama to the idea of an experiental theatre as outlined by Antonin Artaud. In its attempt to locate recent English plays within the context of one of the 20th century''s most prominent dramatic styles, this book is of interest to anyone studying English drama from the 1950s onwards.