Spanish, and Russian. Lech argues that verse is particularly relevant for contemporary theatre practice because the dialogical relationship between its rhythmic and lexical levels speaks to the globalized world’s pluralistic nature. Lech discusses how artists such as Polish Radosław Rychcik and Spanish-British Teatro Inverso use verse in multilingual contexts “as a performative tool to engage with and reflect on interlingual processes as a socio-political force and as a platform for dramaturgies of foreignness.” Nigerian Inua Ellams explores his identity that escapes geographical, national, and temporal boundaries. Russian Olga Shilyaeva in her 2018 28 дней. Трагедия менструального цикла (28 Days. The tragedy of a menstrual cycle) uses verse to talk about experience of menstruation. Irish Stefanie Preissner in her Our Father (2011) and Solpadeine Is My Boyfriend (2012) plays with autobiography and her multiple identities “as the character she performs, as the performer, the writer, and a voice of a young generation of Ireland facing the drastic political, social, and personal changes and desperately looking for predictability.” Dramatic verse Dramatic verse occurs in a dramatic work, such as a play, composed in poetic form. The tradition of dramatic verse extends at least as far back as ancient Greece. The English Renaissance saw the height of dramatic verse in the English-speaking world, with playwrights including Ben Jonson, Christopher Marlowe and William Shakespeare developing new techniques, both for dramatic structure and poetic form. Though a few plays, for example A Midsummer Night's Dream, feature extended passages of rhymed verse, the majority of dramatic verse is composed as blank verse; there are also passages of prose. Dramatic verse began to decline in popularity in the nineteenth century, when the prosaic and conversational styles of playwrights such as Henrik Ibsen became more prevalent, and were adapted in English by George Bernard Shaw. Verse drama did have a role in the development of Irish theatre. Closet drama An important trend from around 1800 was the closet drama: a verse drama intended to be read from the page, rather than performed. Byron and Shelley, as well as a host of lesser figures, devoted much time to the closet drama, in a signal that the verse tragedy was already in a state of obsolescence. That is, while poets of the eighteenth century could write so-so poetic dramas, the public taste for new examples was already moving away by the start of the nineteenth century, and there was little