In this essay I outline the historical provenance and recent development of Documentary Theatre produced in Britain during the millennial period (1990)(1991)(1992)(1993)(1994)(1995)(1996)(1997)(1998)(1999)(2000)(2001)(2002)(2003)(2004)(2005)(2006)(2007). Specifically, the essay takes account of "Verbatim" and "Tribunal" Theatre productions at the National and Royal Court and Tricycle Theatres. I define both forms and describe some of the distinctive theatrical characteristics of each. The essay traces the evolution of these documentary forms from British and German pre-and post-war practices involving non-naturalistic modes of theatre. I argue that the new forms have developed in order to represent, and to oppose, a new, privatised, political culture in which collectives have been sidelined and individuals placed centre stage. The rhetorics of courts and confessionals have become central to theatrical representation of crucial current social and political issues such as racism and international conflict. I argue that individual "bearing witness" (in the first person singular) has overtaken political analysis (conducted in the third person plural) in the new theatrical conjuncture, and that audiences too are implicated in acts of witness.