Deutsch courage: why German theatre dares -- and wins.

(From Guardian Unlimited)

British playwrights have tended to fall into two camps in the past 15 years: the type that succeeds on Broadway and the type that succeeds in Berlin. This is a gross simplification, of course -- based on no research whatsoever and instinct so acute that it is practically made up. But I suspect there is something in it.

Over the past decade my failure to have work produced in New York has been only consoled by the fact that I've managed to work in Germany. Something about this makes me happy. Those playwrights I most admired and most wanted to emulate -- Martin Crimp , Sarah Kane, Edward Bond -- had succeeded in Germany. Having artistic …