Cover

pdf iconDownload PDF

pp. 1-1

Title Page, Copyright

pdf iconDownload PDF

pp. 2-9

read more

Acknowledgments

pdf iconDownload PDF

pp. ix-x

I have benefited from the help and advice of many friends and colleagues in pursuing this project. Among them are Alan Ackerman, Wendy Arons, Emma Katherine Atwood, Philip Auslander, David Bevington, Rhonda Blair, John Russell Brown, Marvin Carlson, William Carroll, Mary Crane, Scott Cummings, J. K. Curry, Tracy Davis, Jody Enders, Penny Farfan, ...

Contents

pdf iconDownload PDF

pp. xi-xii

read more

Dark Matter: An Introduction

pdf iconDownload PDF

pp. 1-15

At the heart of English medieval liturgical drama lies the Visit to the Sep-ulchre by the three Marys on Easter morning, with its revelation of Jesus? Resurrection at the empty tomb. Various versions survive, but all incor-porate the famous Quem quaeritis (Whom do you seek?) trope, originally sung in tenth- century monastic churches as part of the Easter service. The ...

read more

1. How to Do Things with Demons: Conjuring Performatives in Doctor Faustus

pdf iconDownload PDF

pp. 16-37

I can?t fix the roof by saying ?I fix the roof? and I can?t fry an What did it mean for an Elizabethan actor to perform black magic on the early modern stage? When Edward Alleyn stepped onstage as Faustus, dressed in a white surplice and cross and carrying his magical book, the air was charged with dangerous electricity.1 True, Alleyn was clearly an ac-...

read more

2. Quantum Mechanicals: Desiring Bottom in A Midsummer Night’s Dream

pdf iconDownload PDF

pp. 38-65

It is easy to get lost in A Midsummer Night?s Dream. Like most of Shake-speare?s comedies, the Dream concerns misprision: a misunderstanding in which one thing is taken for another.1 A quartet of lovers blunders around a threatening wood; a troupe of actors misplaces its star; Bottom the weaver temporarily loses his head; Puck, alias Robin Goodfellow, lays the ...

read more

3. Unmasking Women: The Rover and Sexual Signification on the Restoration Stage

pdf iconDownload PDF

pp. 66-89

In Aphra Behn?s popular Restoration comedy The Rover (1677), set in Na-ples at Carnival time during the English interregnum, three spirited young Spanish women decide to evade the control of their noble family and rove the streets in masquerade and vizard. The heroines seek romance with some English cavaliers, followers of the banished Prince Charles, who are ...

read more

4. Unbecoming Acts: Power, Performance, and the Self-Consuming Body in Tennessee Williams’s Suddenly Last Summer

pdf iconDownload PDF

pp. 90-103

It?s a simple but hugely effective theatrical conceit, this idea Suddenly Last Summer is unique in the Williams canon in that its protago-nist is dark matter. The poet Sebastian Venable dies before the action takes place; he is at once a blank text, like the empty pages of the notebook his mother Violet brandishes in triumphant fury as proof of his inability to ...

read more

5. Bugs in the Mind: The Archbishop’s Ceiling and Arthur Miller’s Prismatic Drama

pdf iconDownload PDF

pp. 104-116

Written eight years since his last Broadway hit, and from a place of per-sonal crisis in relation to his art, The Archbishop?s Ceiling (1977) marks a significant departure in Arthur Miller?s drama.1 Ever since his first big suc-cess, All My Sons (1947), Miller had chronicled the American self under pressure, a pressure manifested as the past catching up with the present ...

read more

6. Invisible Wounds: Rehearsing Trauma on the Contemporary Stage

pdf iconDownload PDF

pp. 117-145

In Adam and Adrienne Kennedy?s nightmarish memory play Sleep De-privation Chamber (1996), the brutal beating of a young black man by a white policeman repeats itself over and over, both in narrative and before our eyes. These remorseless loops seem out of the conscious control of the narrating characters that conjure them into being. Interspersed with the ...

Notes

pdf iconDownload PDF

pp. 147-199

Glossary

pdf iconDownload PDF

pp. 201-203

Index

pdf iconDownload PDF

pp. 205-229