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Virtual Realism and Black Feminist World-Building in seven methods of killing kylie jenner by Jasmine Lee-Jones

  • Hannah Greenstreet

    is Lecturer in Creative Writing: Stage and Screen at the University of Liverpool. She completed her PhD in contemporary feminist theatre at the University of Oxford in 2021, winning the Swapna Dev Memorial Prize for best doctoral thesis submitted in the Faculty of English that year. Her monograph, Radical Realisms in Contemporary British Theatre: Feminist Form in Plays by Women, is forthcoming in Bloomsbury’s Methuen Drama Engage series. Her work has been published in Studies in Theatre & Performance and Contemporary Theatre Review.

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Published/Copyright: April 29, 2025

Abstract

While theatre-makers have responded to the challenges of staging the Internet in many different ways in the last thirty years, there persists a critical assumption that realism is incapable of representing this aspect of contemporary reality. However, I suggest such a dismissal of realism insists upon a false dichotomy between the “real” and the “virtual” that does not account for the intermeshing of the two in twenty‑first‑century life. I argue that Jasmine Lee‑Jones’s seven methods of killing kylie jenner (Royal Court Theatre, 2019) develops a form of “virtual realism” (Bay‑Cheng) that centres its characters’ subjective experiences as young Black women. While at first, Lee‑Jones’s script and Milli Bhatia’s production maintain “IRL” (In Real Life) and the “Twittersphere” as two distinct worlds with distinct theatrical languages, their eventual convergence suggests the impossibility of separating online activity from life offline. Moreover, the play and the production suggest a powerful analogy between Black feminist activism and theatrical realism as having the potential to imagine a different world, without neglecting critique of the status quo. Ultimately, thinking of seven methods as a realist play, not despite but because of its formal experimentation, productively expands our sense of what realism can do and how it can engage critically with the contemporary world.

About the author

Hannah Greenstreet

is Lecturer in Creative Writing: Stage and Screen at the University of Liverpool. She completed her PhD in contemporary feminist theatre at the University of Oxford in 2021, winning the Swapna Dev Memorial Prize for best doctoral thesis submitted in the Faculty of English that year. Her monograph, Radical Realisms in Contemporary British Theatre: Feminist Form in Plays by Women, is forthcoming in Bloomsbury’s Methuen Drama Engage series. Her work has been published in Studies in Theatre & Performance and Contemporary Theatre Review.

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Published Online: 2025-04-29
Published in Print: 2025-04-24

© 2025 Walter de Gruyter GmbH, Berlin/Boston

Articles in the same Issue

  1. Frontmatter
  2. Frontmatter
  3. Theatre in the Digital Age: Concepts, Perspectives, Developments
  4. Ecologies of Care in a Digital Age: What Remains After Viral Theatre?
  5. Mediatization’s Promise and Downfall: Facebook, Our World, and Mike Bartlett’s Love, Love, Love
  6. “The Future Is Gonna Be Better Than Today”: The Metamodern Theatre of Verbatim Musical Public Domain
  7. Becoming and Being in Digital and Physical Realms: An Inter- and Transmedial Inquiry into Quiara Alegría Hudes’s Elliot Trilogy
  8. Staging an Epic Poem for the Twenty-First Century: Marina Carr’s iGirl and the 2021 Abbey Theatre Production
  9. Digital Spoken Word Theatre in the UK: Navigating the Theatre Screen with Rose Condo’s The Geography of Me
  10. Remediations of the Theatre-in-Lockdown Works by Richard Nelson and Forced Entertainment
  11. #TinyPlayChallenge: Medial, Formal, and Social Affordances of Digital Theatre in Times of Lockdown
  12. Virtual Realism and Black Feminist World-Building in seven methods of killing kylie jenner by Jasmine Lee-Jones
  13. Performative Responses to Anti-Asian Hate amid the COVID-19 Pandemic: Digital Activism and Community Building in WeRNotVirus
  14. Reframing Terrestrial Agency through Digitally Augmented Aesthetics Across Theatre and Installation Art
  15. Animal Cyborgs Onstage: Audiovisual Technology and Anthropocentric “Immediacy” in Contemporary Anglophone Climate Crisis Theatre
  16. Ferryman Collective in Conversation with Cyrielle Garson
  17. Eamonn Jordan. Irish Theatre: Interrogating Intersecting Inequalities (Routledge Studies in Irish Literature). New York: Routledge, 2023, vii + 258 pp., £39.99 (paperback), £135.00 (hardback), £35.99 (ebook).
  18. Christian Attinger. The Theatre of Philip Ridley: Representations of Globalization in Contemporary British Theatre. Würzburg: Königshausen and Neumann, 2023. 479 pp., €49.00 (paperback).
  19. Simon Parry. Science in Performance: Theatre and the Politics of Engagement. Manchester: Manchester UP, 2020, xi + 194 pp., £61.03 (hardback), open access via manchesterhive.com.
  20. Mireia Aragay, Cristina Delgado-García, and Martin Middeke, eds. Affects in 21st-Century British Theatre: Exploring Feeling on Page and Stage. Cham: Palgrave Macmillan, 2021, xi + 284 pp., €128.39 (hardcover), €128.39 (softcover), €96.29 (Epub, PDF ebook).
  21. Jacqueline Bolton. The Theatre of Simon Stephens. London: Methuen Drama, 2021, 264 pp., £90.00 (hardback), £28.99 (paperback), £26.09 (PDF ebook).
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