الفهرس 
IntroductionOnly 14 pages are availabe for public view
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Abstract
Taking into consideration that the Earth has reached a tipping point regarding current ecological crises, this study aims to prove Simon Stephens’ affiliation with contemporary ecocritical dramatists whose plays express deep concern about those crises and contribute to raising awareness of them stressing the interdependency between the human and the nonhuman worlds. Ecodrama, as an evolving genre in contemporary drama, can play a significant part in tackling serious environmental issues that have far-reaching economic, political, and social dimensions. To that end, the thesis traces the history of ecocriticism and applies its theories and tropes to Stephens’ plays with special reference to four of them: Herons, Port, Motortown, and On the Shore of the Wide World. Stephens has employed drama or theatre to function as an ecological form within the larger system of cultural discourses. He has used traditional dramatic techniques such as social realism and naturalism to subvert the narrow anthropocentric view towards nature and replace it with a biocentric attitude. For Stephens, environmental and social problems might end when humans recognize the inherent value of all natural elements and consider the Earth as home for humans and nonhumans alike.