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  Volume 30, Number 4, Winter 1987

Table of Contents

Beckett as Director: The Manuscript Production Notebooks and Critical Interpretation

pp. 451-465 | DOI: 10.1353/mdr.1987.0057

Rockaby and the Art of Inadvertent Interpretation

pp. 466-479 | DOI: 10.1353/mdr.1987.0005

The Sea: Anarchy as Order

pp. 480-495 | DOI: 10.1353/mdr.1987.0015

The Blood Knot Reborn in the Eighties: A Reflection of the Artist and his Times

pp. 496-504 | DOI: 10.1353/mdr.1987.0025

"Master Harold" ... and the boys: Athol Fugard and the Psychopathology of Apartheid

pp. 505-513 | DOI: 10.1353/mdr.1987.0034

The Domestic Tragedies of Roger Vitrac

pp. 514-527 | DOI: 10.1353/mdr.1987.0043

Jean Jullien's La Sérénade: A Comédie Rosse Study

pp. 528-534 | DOI: 10.1353/mdr.1987.0053

The Subtext of The Real Thing: It's "all right"

pp. 535-548 | DOI: 10.1353/mdr.1987.0001

Somerset Maugham: A Test Case for Popular Comedy

pp. 549-559 | DOI: 10.1353/mdr.1987.0011

Modernism vs. Postmodernism: Shepard's The Tooth of Crime and the Discourses of Popular Culture

pp. 560-573 | DOI: 10.1353/mdr.1987.0021

Book Reviews

French Theatre 1918-1939 by Bettina L. Knapp, and: Modern French Drama, 1940-1980 by David Bradby (review)

pp. 574-576 | DOI: 10.1353/mdr.1987.0030

Edward Bond by David L. Hirst (review)

pp. 576-579 | DOI: 10.1353/mdr.1987.0039

Tragicomedy by David L. Hirst, and: Modern Tragicomedy and the British Tradition by Richard Dutton, and: Interpreting Events: Tragicomedies of History on the Modern Stage by Paul Hernadi (review)

pp. 579-582 | DOI: 10.1353/mdr.1987.0049

Jacques Copeau by John Rudlin (review)

pp. 582-583 | DOI: 10.1353/mdr.1987.0060


pp. 584-585 | DOI: 10.1353/mdr.1987.0008

Contents of Volume XXX

pp. 587-591 | DOI: 10.1353/mdr.1987.0018

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