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I am indebted to Matthew Frost, Rebecca Willford, Victoria Chow and the people at Manchester University Press for granting me a contract, and for their help and attention along the way.
Research for this project began with conversations at the Royal Central School of Speech and Drama. I am especially grateful to Robin Nelson and Simon Shepherd, as well as to the students who took my ‘Performing Emergencies’ module and helped to foment these ideas.
I owe a lot to my colleagues at the University of St Andrews, who provided me with a supportive environment in which to work. Gill Plain, Andy Murphy and Dina Iordanova helped the proposal through its infancy. Anindya Raychaudhuri, Peter Mackay, Katie Garner and Kate Cross gave invaluable support and advice during commutes, in pubs and on picket lines. Further afield, Piotr Cieplak, Clare Finburgh, James Hudson, Dan Hunt and Mark Robson read through chapter drafts and were far too pleasant about them. Thanks to Kirsty Sedgman, for her constructive and thoughtful feedback on the manuscript, to Vanishing Point for granting me access to the script of The Destroyed Room, and to Zinnie Harris for the generous conversations about How to Hold Your Breath.
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