Edward Bond is a name I run across fairly frequently. He provided a text for Henze's opera We come to the River and The English Cat. I always thought his best-known work is Saved. Some rather gruesome stuff, a capitalist wasteland born out-of-wedlock and all that.

If he's not performed in England, then where is he actually performed? 

Peter Handke and Heiner Müller are bread and butter, respectively, in Germany. But for me Handke is an author first and a playwright second. And H. Müller I only know by association with Wolfie Rihm's Hamletmaschine.

Where do you start?  English theatre is so astonishingly parochial that even those few directors like Hytner prepared to encourage new work are swimming against an implacable tide

Bond's neglect is near to criminal

Bill Neskovky, Kylie Tennant; Jean Dutourd; Jean Anouilh; Tankred Dorst; Leopold Ahlsen; Brian Friel; Diego Fabbri; Witold Gombrowicz; Isaak Babel; these are just a few mainstream names.   You'll be lucky to find even O'Casey or Synge staged in Britain    Then try to find ANYTHING written by a woman (other than Carol Churchill) on the English stage?   In her lifetime as now, Aphra Behn is utterly outcast

As for forms of theatre - if you ever fancy an online punchup, try advocating any kind of "devised work" on Comment Is Free on the Grauniad site.  The idea that anything which doesn't have an identifiable author (whose name and address could be obtained) might be any good brings out a red mist in the Grauniad faithful    Still stuck in that English malaise that plays are printed books, which are sometimes read in public by actors

This is a huge subject, 'tisnow, and not easily answered easily even at great length. The most important point is that there's not just one British theatre (indeed, Scottish theatre is a recognisably different genre from anything South of the Border) but the story of what there is - what there is left - makes the story of Classical Music in Britain almost happy by comparison. The market for serious theatre is tiny: the onslaught of commercial musicals (many of them ersatz) has all but crowded out everything else. The starvation of funding for the Rep. companies over the last thirty years or so has seen all but a tiny percentage of them disappear: with them has gone the habit of attending theatre as a participatory event. Now it's the big subsidised companies who should be carrying the torch, but most of their repertoire is classical. Modern experimental drama is mainly in the hands of small independent companies, and generally restricted to places where a large enough audience can be scraped together to make it financially viable, or prestige festivals.

Mention of Edward Bond's Lear crops up on another thread (the Donald Wolfit thread): I was lucky enough to see this in 1971 at the Royal Court, and Harald Mueller's Big Wolf in the same house a year later. Both were strong plays which made a huge impact: serious thought provoking drama that pulled no punches. This was the era of the politically aware TV play, too: whether audiences became tired of them and the genre faded, or the genre was allowed to die so that the audience for it dissipated is hard to say. Bond found that his work was more appreciated on the continent and made the move there; mainstream British theatre became increasingly less daring as the remaining audiences became more middle class.

In answer to Reiner; Liz Lochead's work is performed regularly in Scotland, and Timberlake Wertenbaker (the Royal Court's house dramatist in the mid 80s) was a pretty common fixture until recently, and I'm sure I can come up with some more, soon. Dundee Rep. (one of the last full-time resident companies in Britain) last year included fabulous productions of Peer Gynt (an NToS co-production), Romeo and Juliet, Happy Days and Cocteau's Les Parents Terribles as well as more populist fare: this season kicks off with Mother Courage, which I'll be catching on Friday.

Until quite recently, R3 was a major source of good World Drama of every period: now, sadly, it's as much a shadow of its former self for drama as it is for music. I have cases of cassettes of Sunday Plays from the 70s onwards: like much of the rest of my archive material, it's still in storage and will need major excavation, but there are most certainly treasures within.

Shouldn't you be doing it in the language of the audience rather than leave yourself open to charges of narcissistic posturing? 

FORTRAN

And how many Quebecois speakers, more's the point?     

British theatre, and certainly London theatre, is notorious for almost completely ignoring work from continental Europe (new writing from the US is a different story and is better represented). And Edward Bond, the one English name on the list is famous, if famous at all, for being more widely performed on continental Europe than here. He is talked about a lot (and I'm pretty staggered he wasn't represented in a university library) but still only very rarely performed.

Of the names on t-i-n's list I confess that I've never heard of Enzo Cormann or Bernard-Marie Koltès before. Heiner Müller is a name talked about but I haven't seen or known about anything of his being staged in London (which doesn't mean it hasn't, of course). And in forty years or so of theatre-going I've only managed to see a handful of things by Edward Bond including We Come to the River, and just one by Peter Handke. And that's it.