Howard Barker (born 28 June 1946) is a British playwright, screenwriter and writer of radio drama, painter, poet, and essayist writing predominantly on playwriting and the theatre. The author of an extensive body of dramatic works since the 1970s, he is best known for his plays Scenes from an Execution, Victory, The Castle, The Possibilities, The Europeans, Judith and Gertrude – The Cry as well as being a founding member, primary playwright and stage designer for British theatre company The Wrestling School. The Theatre of Catastrophe Barker has coined the term "Theatre of Catastrophe" to describe his work. His plays often explore violence, sexuality, the desire for power, and human motivation. Rejecting the widespread notion that an audience should share a single response to the events onstage, Barker works to fragment response, forcing each viewer to wrestle with the play alone. "We must overcome the urge to do things in unison" he writes. "To chant together, to hum banal tunes together, is not collectivity." Where other playwrights might clarify a scene, Barker seeks to render it more complex, ambiguous, and unstable. Only through a tragic renaissance, Barker argues, will beauty and poetry return to the stage. "Tragedy liberates language from banality" he asserts. "It returns poetry to speech." Themes Barker frequently turns to historical events for inspiration. His play Scenes from an Execution, for example, centers on the aftermath of the Battle of Lepanto (1571) and a fictional female artist commissioned to create a commemorative painting of the Venetian victory over the Ottoman fleet. Scenes from an Execution, originally written for Radio 3 and starring Glenda Jackson in 1984, was later adapted for the stage. The short play Judith revolves around the Biblical story of Judith, the legendary heroine who decapitated the invading general Holofernes. In other plays, Barker has fashioned responses to famous literary works. Brutopia is a challenge to Thomas More's Utopia. Minna is a sardonic work inspired by Gotthold Ephraim Lessing's Enlightenment comedy, Minna von Barnhelm. In Uncle Vanya, he poses an alternative vision to Anton Chekhov's drama of the same name. For Barker, Chekhov is a playwright of bad faith, a writer who encourages us to sentimentalize our own weaknesses and glamorize inertia. Beneath Chekhov's celebrated compassion, Barker argues, lies contempt. In his play, Barker has Chekhov walk into Vanya's world and express his disdain for him. "Vanya, I have such a withering knowledge of your