At first sight it might seem contradictory to include drama in a discussion of Modernism. As a movement, “Modernism” has been defined in artistic terms through the sculptures of Jacob Epstein or Henri Gaudier-Brzeska and the paintings of Wassily Kandinsky or Wyndham Lewis, while in literary terms its usage has been restricted to the work of poets and novelists: preeminently T. S. Eliot, Ezra Pound, James Joyce, D. H. Lawrence, and Virginia Woolf. Indeed, in the various critical studies of the movement published over the last half-century, drama has been conspicuous by its absence; and where mentioned at all, it is generally dismissed as following a different - even anti-modernist - agenda. This may be partly due to the specifically English and American focus of studies that site the defining moment of literary Modernism in the Pound-Eliot nexus. By contrast, drama in the twentieth century has been highly international, with English-speaking playwrights and directors responding to innovations from Europe, and having their experiments picked up in turn.