The abundance of material offered here shows that editing a volume on taboo-breaking in recent drama is no foolhardy enterprise; outrageousness even seems to be second nature to drama, in the English-speaking countries the articles refer to. Indeed, the art of theatre has consistently transgressed established rules (the rules of the Gods or the rules of the City) ever since Dionysian celebrations gave birth to the art of tragedy, and one can infer, without being exaggeratedly bold, that it will continue to do so.