Brief Notices

BriefNotices Ian Brown, ed. Journey's Beginning: The Gateway Theatre Building and Company, 1884-1965. Bristol: Intellect, 2004. Pp. iv + 81. $19.95. This volume contains the following essays: Ian Brown, "Gateways from the Past to the Future" (1-14); Ksenija Horvat,"The Gateway Building and its Early Manifestations" (15-28); Donald Smith, "Kirk and Theatre" (29-36); Kathleen Gilmour, "Sadie Aitken: the 'Caledonian Lilian Baylis'" (37-52); Donald Smith,"The Gateway Theatre Company" (53-64); Bill Findlay,"The Founding ofa Modern Tradition: Robert Kemp's Scots Translation ofMolière at the Gateway" (65-80). List of contributors (81). Philip C. Kolin,ed. The TennesseeWilliamsEncyclopedia.Westport, Conn.: Greenwood Press, 2004. Pp. xxix + 350 + black-andwhite illustrations. $89.95. Following a preface by the editor, this volume contains a "Guide to Related Topics" that provides a list of keywords arranged by categories which include , "Awards, Collections, and Festivals"; "Culture, Politics, Religion, and Social Issues"; "Family and Early History"; "People"; "Places"; "Theater and Films"; "Works"; and "Writers and Publishers." Following the guide is the "Chronology," a section that provides a year-by-year breakdown of noteworthy events such as family births and deaths, play premieres, and publication dates. The encyclopedia then gives a wide variety of entries, including biographical information of friends and family, influences, and adaptations of Williams's corpus of work. Each entry is arranged and researched by a contributing author, and includes extensive bibliographies. The contributing authors are Philip C. Kolin, Thomas P. Adler, Sidney Berger, Stephen J. Bottoms, Robert Bray, Jackson R. Bryer, Mark Cave, Mark Edward Clark, John M. Cium, George W. Crandell, Maureen Curley, Albert J. Devlin, Carlos L. Dews, Leslie Atkins Durham, Penny Farfan, James Fisher, Verna Foster, John Gronbeck-Tedesco, Janet V. Haedicke, Allean Hale, Cathy 141 142ComparativeDrama Henderson, Deana Holifield, Christina Hunter, Norma Jenckes, Thomas Keith, Kimball King, Kristin J. Kolin, Susan Koprince, Richard E. Kramer, Francis X. Kuhn, Colby H. Kullman, Leonard J. Leff, Felicia Hardison Londre, Mary Frances Lux, Linda Elkins McDaniel, Thomas Molzahn, Lou Anne Morehouse, Nicholas R. Moschovakis, Brenda Murphy, Jacqueline O'Connor, Michael Palier, Brian Parker, Gene D. Phillips, S. J., W. Douglas Powers, Jean Rhodes,John Rindo, Kathleen M. Rossman,Terri Smith Ruckel,Annette J. Saddik, Dean Shackelford,Susan Swartwout,Margaret Bradham Thornton,Ralph F.Voss, J. Marcus Weekley, Jürgen C. Wolter, Kirk Woodward, and Arthur Wrobel. The end of the volume features bibliographies of primary and secondary sources, an index, and contributor biographies. Frances Harding, ed. The Performance Arts in Africa: A Reader. London: Routledge, 2002. Pp. xiv + 364. $28.95. Following an introduction by the editor (1-26), this volume contains essays categorized in four parts: Part 1, Theory: M.J.C. Echeruo," The Dramatic Limits of Igbo Ritual" (27-37); Ossie Enekwe, "Myth, Ritual, and Drama in Igboland" (38-48); John Picton,"What's in a Mask" (49-68); Loren Kruger, "Acting Africa" (69-77); Laura Enmondson, "National Erotica: The Politics of 'Traditional' Dance in Tanzania" (78-94); Part 2, Performers and Performing : Andrew Horn, "Individualism and Community in the Theatre of Serumaga" (95-116); Robin Horton, "The Gods as Guests: An Aspect of Kalahari Religious Life" (1 17-37); Ruth B. Phillips,"Masking in Mende Sande Society Initiation Rituals" (138-48); René A. Bravmann, "Gyinna-Gyinna: Making the Djinn Manifest" (149-57); Oga S. Abah, "Creativity, Participation and Change in Theatre for Development Practice" (158-73); Mary Jo Arnoldi, "Playing the Puppets: Innovation and Rivalry in Bamana Youth Theatre of Mali" (174-86); Part 3, Voice, Language and Words in Performance : Julius S. Spencer,"Storytelling Theatre in Sierra Leone: The Example of Lele Gbomba" (187-97); Asheri Kilo, "The Language of Anglophone Cameroon Drama" (198-207); Emmanuel Yewah, "Congolese Playwrights as Cultural Revisionists" (280-21); John Nunley, "Purity and Pollution in Freetown Masked Performance" (222-33); E. J. Collins, "Comic Opera in Ghana" (234-43); Sam Kasule,"Folklore and Tradition in the Drama of Cliff Lubwa p'Chong" (243-57); Paul Stoller, "Horrific Comedy: Cultural Resistance and the Hauka movement in Niger" (258-76); Part 4, Spectators, Space and Time in Performance: Zakes Mda, "South African Theatre in an Era of Reconciliation" (277-89); Kenji Yoshida, "Masks and Secrecy Among the Chewa...