This is Carey Mulligan week. She appears, improbably enough, as a hard-nosed cop in David Hare’s BBC thriller Collateral, as well as onstage at the Royal Court in London’s Sloane Square (she’s much better live than on film).

First the goats, and now the sheep – has this venue become an urban farm? Rural life, which was once so central to our English pastoral culture, is now largely absent from metropolitan stages. And from our culture. Apart from The Archers or the village gothic of shows like The League of Gentlemen, the countryside has become a lost world, a blank space on which any playwright can project their imaginary stories.

The revival that almost didn't make it into town has got the Royal Court's 2018 mainstage offerings off to a rousing start. For a while, it looked as if this fresh appraisal of a benchmark 1982 Court title would close on the road, a casualty of the "metoo" campaign and charges of inappropriate behaviour that were brought against its original director, Max Stafford-Clark (himself a former Court artistic director).

That ages-old dictum "write what you know" has given rise to the intriguingly titled My Mum's a Twat, in which the Royal Court's delightful head of press, Anoushka Warden, here turns first-time playwright, much as the Hampstead Theatre's then-press rep, Charlotte Eilenberg, did back in 2002.

Year-end wrap-ups function as both remembrances of things past and time capsules, attempts to preserve an experience to which audiences, for the most part, have said farewell.

The civil war in Syria spawns image after image of hell on earth. Staging the stories of that conflict presents a challenge to playwrights: how do you write about horror in a way that is both accurate and entertaining? Goats, by Syrian playwright and documentary film-maker Liwaa Yazji, translated by Katharine Halls, is part of the Royal Court’s international project with writers from Syria and Lebanon, and takes up this challenge.

War is morally acidic: it dissolves social rules, loosens inhibitions and gives permission to men to behave like animals. And the people who have to put up with this deluge of amorality and abuse are, of course, women.

The autumn season of plays at the Royal Court leads with international work. B by Guillermo Calderón (from Chile), Bad Roads by Natal'ya Vorozhbit (from Ukraine) and Goats by Liwaa Yazji (from Syria) have a long history with our international department. We probably have to go back over a decade to look at the seeds of this work and the connections they have to one another and to each of us.

THE ROAD TO BAD ROAD

What does it mean to feel contemporary? Feel. Contemporary. According to theatre-maker Chris Thorpe, whose new play Victory Condition has just opened at the Royal Court in tandem with Guillermo Calderón’s B, being contemporary is a really disturbing mixture of feeling all-powerful and completely powerless.

In the 1960s, we had the theatre of commitment; today we have an attitude of non-committal. Once, political playwrights could be guaranteed to tell you what to think, to describe what was wrong with society – and what to do about it.