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  Volume 35, Number 3, Fall 1992

Table of Contents

From: Modern Drama

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Articles

From Nora Helmer to Wendy Darling: If You Believe in Heroines, Clap Your Hands

pp. 353-364
|

L'Homme Fatal in Hedda Gabler

pp. 365-377
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"The Furtive Event": Theorizing Feminist Spectatorship

pp. 378-394
|

Whom Else: Gendered Consciousness and Wholeness in Krapp's Last Tape and Rockaby

pp. 395-408
|

"How Sweet the Kill": Orgiastic Female Violence in Contemporary Re-visions of Euripides' The Bacchae

pp. 409-423
|

Feminist Nationalism in Scotland: Mary Queen of Scots Got Her Head Chopped Off

pp. 424-432
|

Howard Barker: Modern Allegorist

pp. 433-443
|

Bus Stop: American Eye vs. Small-Town Ear

pp. 444-450
|

Caged Birds: Bad Faith in Tennessee Williams's Drama

pp. 451-465
|

The Dramatist's Dilemma

pp. 466-477
|

Book Reviews

Shaw: Interviews and Recollections ed. by A.M. Gibbs (review)

pp. 478-480
|

Samuel Beckett, W. B. Yeats, and Jack Yeats: Images and Words by Gordon S. Armstrong (review)

pp. 480-481
|

Brian Friel by George O'Brien, and: Contemporary Irish Dramatists by Michael Etherton (review)

pp. 481-483
|

Kurt Weill: The Threepenny Opera by Stephen Hinton, and: Alban Berg: Lulu by Douglas Jarman (review)

pp. 483-484
|

Stanislavski: A Biography by Jean Benedetti (review)

pp. 485-486
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The Theatre of Andrzej Wajda by Maciej Karpinski (review)

pp. 486-487
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The Moon Belongs to Everyone: Making Theatre with 7:84 by Elizabeth MacLennan, and: The Bone Won't Break: On Theatre and Hope in Hard Times by John McGrath (review)

pp. 487-489
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A Sociosemiotic Theory of Theatre by Jean Alter (review)

pp. 489-491
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Contributors

pp. 492-493
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Research Areas

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