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  Volume 31, Number 3, Fall 1988

Table of Contents


Bertolt Brecht's The Exception and the Rule. It Doesn't Say What It Says It Says

pp. 317-329

Švejk's Stage Figure: Illustration, Design, and the Representation of Character

pp. 330-339

Beyond 1984: Provocation and Prognosis in Marieluise Fleisser's Play Purgatory in Ingolstadt

pp. 340-351

Two Concepts of Society in Drama: Bertolt Brecht's The Good Woman of Setzuan and Edward Bond's Lear

pp. 352-364

Brecht and Friel: Some Irish Parallels

pp. 365-370

The Lehrstück Experience on a Contemporary Stage: On Brecht and the GRIPS-Theater's Voll auf der Rolle

pp. 371-379

"Des Petits Ebranlements Capillaires ...": The Art of Michel Vinaver

pp. 380-394

Weiss's Marat/Sade and its Three Main Performance Versions

pp. 395-419

Politicised Theatre: The Case of Rainer Werner Fassbinder's Garbage, The City and Death

pp. 420-428

Müller's Cement: Fragments of Heroic Myth

pp. 429-438

Post-Modernism and the Multi-Media Sensibility: Heiner Müller's Hamletmachine and the Art of Robert Wilson

pp. 439-453

A Conversation with Robert Wilson and Heiner Müller

pp. 454-458

Book Reviews

Bertolt Brecht: Chaos According to Plan by John Fuegi, and: Exceptions and Rules: Brecht, Planchon and "The Good Person of Szechwan." by Pia Kleber (review)

pp. 459-462

The Tragic Plane by H.A. Mason (review)

pp. 462-465

Harley Granville Barker: A Preface to Modern Shakespeare by Christine Dymkowski, and: Granville Barker and the Dream of Theatre by Dennis Kennedy, and: Plays by Harley Granville Barker ed. by Dennis Kennedy, and: Granville Barker and His Correspondents ed. by Eric Salmon (review)

pp. 465-468

The Royal Court Theatre, 1965-1972 by Philip Roberts (review)

pp. 468-470


pp. 471-472

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