1. Bertolt Brecht's The Exception and the Rule. It Doesn't Say What It Says It Says
  2. Russell E. Brown
  3. pp. 317-329
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  1. Švejk's Stage Figure: Illustration, Design, and the Representation of Character
  2. Michael Quinn
  3. pp. 330-339
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  1. Beyond 1984: Provocation and Prognosis in Marieluise Fleisser's Play Purgatory in Ingolstadt
  2. Ralph Ley
  3. pp. 340-351
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  1. Two Concepts of Society in Drama: Bertolt Brecht's The Good Woman of Setzuan and Edward Bond's Lear
  2. Hubert Zapf
  3. pp. 352-364
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  1. Brecht and Friel: Some Irish Parallels
  2. Eric Binnie
  3. pp. 365-370
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  1. The Lehrstück Experience on a Contemporary Stage: On Brecht and the GRIPS-Theater's Voll auf der Rolle
  2. Gerhard Fischer
  3. pp. 371-379
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  1. "Des Petits Ebranlements Capillaires ...": The Art of Michel Vinaver
  2. Rosette C. Lamont
  3. pp. 380-394
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  1. Weiss's Marat/Sade and its Three Main Performance Versions
  2. Darko Suvin
  3. pp. 395-419
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  1. Politicised Theatre: The Case of Rainer Werner Fassbinder's Garbage, The City and Death
  2. Denis Calandra
  3. pp. 420-428
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  1. Müller's Cement: Fragments of Heroic Myth
  2. Max Harris
  3. pp. 429-438
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  1. Post-Modernism and the Multi-Media Sensibility: Heiner Müller's Hamletmachine and the Art of Robert Wilson
  2. Nicholas Zurbrugg
  3. pp. 439-453
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  1. A Conversation with Robert Wilson and Heiner Müller
  2. Arthur Holmberg, Paul Schmidt
  3. pp. 454-458
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  1. The Tragic Plane by H.A. Mason (review)
  2. Stephen A. Black
  3. pp. 462-465
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  1. The Royal Court Theatre, 1965-1972 by Philip Roberts (review)
  2. James Fisher
  3. pp. 468-470
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  1. Contributors
  2. pp. 471-472
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