ABSTRACT
The chapter investigates the political potential of verse dramaturgy in works engaging with identities that escape simple social, physical, geographical, national, or cultural boundaries; staging marginalization, precarity, and post-colonial resistance; and performing a protest. The discussion builds on text and performance analysis of works from Shakespeare to Hip Hop theatre, showing how in recent years, instead of being Ibsen’s “language of the Gods”, verse has become a theatrical language of the marginalized for whom verse is a site of agency.
