Abstract
Drawing on Jacques Rancière's work on aesthetics and politics, this article considers David Greig's recent work under the rubric of dissensus. Arguably, this strategy of giving voice to incommensurate views has been a core feature of Greig's dramaturgy for some time.
It will also consider the relationship between conflict and empathy in Greig's work in order to investigate some of the outcomes of the ethical dissonances generated by this relationship. It contends that The Events (2013) and The Yes/No Plays (2013-2014) in particular testify to the essentially egalitarian and dissensual nature of Greig's theatre practice today.