Brief Notices

Brief Notices Robert E. Stillman, ed. Spectacle and Public Performance in the Late MiddleAges and the Renaissance. Boston: Brill, 2006. Pp. xxiv + 257. $120.00 casebound. Following acknowledgments (ix-x), the editor's forward (xi-xviii), a list of contributors (xix-xxii), and a list of illustrations (xxiii-xxiv), this volume contains the following essays: Richard K. Emmerson,"Antichrist on Page and Stage in the Later Middle Ages" (1-30); Peter Cockett, "Staging Antichrist and the Performance ofMiracles" (31-50); Robert E. Stillman,"'Nothing more nedeful': Politics and the Rhetoric ofAccommodation in Elizabeth Is Coronation Procession " (51-78); Tiffany J. Alkan, "Britomarts Backward Glance in Spenser's Faerie Queene: Liminal Triumphs/Dark Erotics in Busirane's Mask of Cupid" (79-104); Nora Johnson,"Spectacle and the Fantasy of Immateriality: Authorship and Magic in John a Kent andJohn a Cumber" (105-20); Sarah Beckwith, "The Play ofVoice: Acknowledgment,Knowledge, and Self-Knowledge in Measure forMeasure" (121-44); Richard C. McCoy,"Spectacle and Equivocation in Macbeth" (145-56); Peter Holland, "Mapping Shakespeare's Britain" (157-82); Robert W. Barrett Jr.,"The Absent Triumphator in the 1610 Chester's Triumph in Honor ofHerPrince" (183-210); Tom Bishop,"Have his 'carkasse': The Aftermaths ofEnglish Court Masques"(211-30); and Lauren Shohet,"Reading/Genres: On 1630s Masques" (231-48). The text concludes with an index (249-57). Jan Cohen-Cruz and Mady Schutzman, eds. A Boal Companion: Dialogues on Theatre and CulturalPolitics. NewYork: Routledge, 2006. Pp. ? + 208. $100.00 casebound; $29.95 paperbound. This volume begins with a list of contributors (vii-ix), acknowledgments (x), an introduction by the editors (1-9), and an introductory essay: Cambell Britton,"Politics and Performance(s) ofIdentity: 25 Years of Brazilian Theatre (1954-79)" (10-20). The primary text contains essays in three sections. Section 1,"Sites," includes Randy Martin,"Staging the Political: Boal and the Horizons ofTheatrical Commitment" (23-32); Deborah Mutnick,"Critical Interventions: 401 402Comparative Drama The Meaning ofPraxis" (33-45); L. M. Bogad,"Tactical Carnival: Social Movements ,Demonstrations,and Dialogical Performance" (46-58); MadySchutzman with Brent Blair, Lori S. Katz, Helene S. Lorenz, and Marc D. Rich,"Social Healing and Liberatory Politics:A Round-Table Discussion" (59-77); and Gianpaolo Baiocchi,"Performing Democracy in the Streets: Participatory Budgeting and Legislative Theatre in Brazil" (78-88). Section 2, "Tropes," includes Suzanne Lacy,"Activism in Feminist Performance Art" (89-102); Jan Cohen-Cruz,"Redefining the Private: From Personal Storytelling to Political Act" (103-13); Warren Linds,"Metaxis: Dancing (in) the In-Between" (114-24); Shari Popin, "Aesthetic Spaces/Imaginative Geographies" (125-32); Mady Schutzman,"Joker Runs Wild" (133-45); and Julie Salverson,"Witnessing Subjects: A Fool's Help" (146-58). Section 3, "Ideologies," includes Awan Ampka, "Reenvisioning Theatre , Activism, and Citizenship in Neocolonial Contexts" (159-72); Ann Elizabeth Armstrong,"Negotiating Feminist Identities and Theatre ofthe Oppressed" (173-84); and Daniel Banks,"Unperforming'Race': Strategies for Reimagining Identity" (185-98). The text concludes with an index (199-208). Laura R. Bass and Margaret R. Greer, eds. Approaches to Teaching: EarlyModern Spanish Drama. NewYork: Modern LanguageAssociation , 2006. Pp. xiii + 281. $37.50 casebound; $19.75 paperbound . This volume begins with a preface to the series (ix-x), a preface to the volume (xi-xii), and acknowledgments (xiii). The primary text is divided into two parts. Part 1 contains a discussion ofmaterials bythe editors (1-22). Topics include "Editions of Comedias,""The Instructor's Library," and "Aids to Teaching ." Part 2 begins with an introduction by the editors (23-28) and contains the following essays: Melveena McKendrick, "Communicating the Past" (29-38); Renato Barahona, "Between Ideals and Pragmatism: Honor in Early Modern Spain" (39-44); Frederick A. de Armas, "A Woman Hunted: A City Besieged: Spanish Emblems and Italian Art in Fuenteovejuna" (45-52); Enrique Garcia Santo-Tomás,"EarlyModern Geographies: Teaching Space in Tirso de Molina's Urban Plays" (53-60); Laura R. Bass,"Costume and the Comedia: Dressing Up El vergonzoso en palacio in the Classroom" (61-68); Carmen García de la Rastilla,"Teaching Golden Age Theater Through Filmic Adaptations" (69-75); Mary Malcolm Gaylord,"How to Do Things with Polimetria" (76-84); Edward H. Friedman, "The Comedia and the Theoretical Imperative" (85-91); Teresa S. Soufas,"Unanswering...