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  Volume 52, Number 1 (T 197) Spring 2008

Table of Contents

From: TDR: The Drama Review

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dead-in-iraq: performance/memorial/protest

pp. 2-3

TDR Comment

"We Are, After All, at War"

pp. 7-10

Planning Ahead with Adolf Hitler

pp. 11-13

Letters, Etc.

TDR Comings and Goings

pp. 14-16


Telling and Showing: Witnesses Represent Sierra Leone’s War Atrocities in Court and Onstage

pp. 17-31

Performing the Nation: Theatre in Post-Genocide Rwanda

pp. 32-50

From Mastermind to Body Artist: Political Performances of Slobodan Milošević

pp. 51-74

Witnessing Proceedings: The Hague War Crimes Tribunal, Narrative Indeterminacy, and the Public Audience

pp. 75-87

Acts of Violence: Theatre of Resistance and Relief in the Colombian War Zone

pp. 88-109

Three Stories from the Trenches: The Theatre of the Oppressed in the Midst of War

pp. 110-117

Gulag, the Musical: Performing Trauma in North Korea through Yoduk Story

pp. 118-135


Performing the State of Exception: Coco Fusco’s Operation Atropos and A Room of One’s Own

pp. 136-139

Artist’s Statement

pp. 139-153

Theatre as Discipline: Performing Military Interrogation: An Interview with Mike Ritz

pp. 153-159

Blackened Windows: from The War Zone Is My Bed

pp. 160-166


pp. 167-178

Critical Acts

This issue’s Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field’s censored Emmy-acceptance speech to exemplify the Bush administration’s privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono’s The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. William Bowling and Rachel Carrico describe how art heals in Lakeviews, part of a post-Katrina project. Guillermo Gómez-Peña rages against “border hysteria,” when the “War on Terror” becomes a “war on difference.”

Habeas Corpus: Behold the Body

pp. 179-182

On Recent Performances of Luigi Nono’s The Forest Is Young and Full of Life

pp. 182-189

Lakeviews: A Bus Tour As a Vehicle for Regrowth in New Orleans

pp. 190-196

Border Hysteria and the War against Difference

pp. 196-203


Significant Other: Staging the American in China (review)

pp. 204-206

Utopia in Performance: Finding Hope at the Theatre (review)

pp. 206-208

Dancing from Past to Present: Nation, Culture, Identities (review)

pp. 208-210

Performing Consumers: Global Capital and Its Theatrical Seduction (review)

pp. 210-212

Research Areas


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