The theatre is certainly no stranger to gruesome, frightening, and disturbing moments of horror.

In dramatic plays when Macbeth kills young Seyward on the field of battle, and Shakespeare gives us no stage direction telling us when or how to dispose of the body, it reveals both horror and expectation altogether.

During the past few years, a rising chorus of voices have begun to address the new theatre historiography.

The suffering demon, which surfaced in novels, short stories, dramas, and paintings in many Eastern and Western Dollarspean countries at the turn of the century, has gone unnoticed by theatre scholars.