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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
|

Rockaby and the Art of Inadvertent Interpretation

pp. 466-479
|

The Sea: Anarchy as Order

pp. 480-495
|

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

pp. 496-504
|

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

pp. 505-513
|

The Domestic Tragedies of Roger Vitrac

pp. 514-527
|

Jean Jullien's La Sérénade: A Comédie Rosse Study

pp. 528-534
|

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

pp. 535-548
|

Somerset Maugham: A Test Case for Popular Comedy

pp. 549-559
|

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

pp. 560-573
|

Book Reviews

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

pp. 574-576
|

Edward Bond by David L. Hirst (review)

pp. 576-579
|

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
|

Jacques Copeau by John Rudlin (review)

pp. 582-583
|

Contributors

pp. 584-585
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Contents of Volume XXX

pp. 587-591
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Research Areas

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