Representations of childhood traumas in contemporary British drama: Martin Mcdonagh's The Pillowman, Philip Ridley's Mercury Fur, and Duncan Macmillan's Every Brilliant Thing

From the past to the present, the study of human psychology and trauma has increased, leading to numerous plays in contemporary British theatre that address these issues. This thesis examines the theme of childhood trauma in plays in contemporary British theatre. The study includes three major works: Martin McDonagh's The Pillowman (2003), Philip Ridley's Mercury Fur (2005), and Duncan Macmillan's Every Brilliant Thing (2013). The analysis of these plays is based on the psychoanalytic theories on childhood trauma of Sigmund Freud and Cathy Caruth's theory of narrating trauma. Freud's ideas about the unconscious—repression, repetition, compulsion, and defence mechanisms—help us understand how the traumatic events the characters have been through affect their mental growth. Caruth's ideas about how trauma is inexpressible, belated, and fragmented in nature in the narration of the plays help us understand how the plays deal with it through language and form. These works demonstrate the enduring impact of childhood traumatic events on individuals' lives and the theatrical expression of these traumas. Moreover, the reappraisal of traumatic experiences through art provides not only an individual but also a social space for confrontation and meaning making. Finally, this thesis shows that by looking at how contemporary drama portrays childhood trauma, it is an important way to understand how trauma changes people's and groups' minds in deep ways. In this context, plays serve as potent narrative instruments, reflecting and comprehending the intricacy of traumatic experiences.