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  Volume 40, Number 1, Spring 1997

Table of Contents

Stoppard's Arcadia: Research, Time, Loss

pp. 1-10

Coming Out in The Room: Joe Orton's Epigrammatic Re/Vision of Harold Pinter's Menace

pp. 11-22

Nostalgic Rapture: Interpreting Moral Commitments in David Hare's Drama

pp. 23-37

What is a Birth Astride a Grave?: Ohio Impromptu as Zen Koan

pp. 38-56

Nowhere Man and the Twentieth-Century Cowboy: Images of Identity and American History in Sam Shepard's True West

pp. 57-73

Looking into Black Skulls: Amiri Baraka's Dutchman and the Psychology of Race

pp. 74-85

Beyond Poststructuralism: Theory of Character, the Personae of Modern Drama, and the Antinomies of Critical Theory

pp. 86-99

Some Defining Characteristics of Australian Aboriginal Drama

pp. 100-110

Scenes of the Crime: Returning to the Past

pp. 111-122

The Daughter's Double Bind: The Single-parent Family as Cultural Analogue in Two Turn-of-the-Century Dramas

pp. 123-138

Anarchy and Resistance in Tristan Tzara's The Gas Heart

pp. 139-148

Three Tutorial Plays: The Lesson, The Prince of Naples and Oleanna

pp. 149-162

Book Reviews

Beckett Writing Beckett: The Author in the Autograph by H. Porter Abbott (review)

pp. 163-164

Shaw's People: Victoria to Churchill by Stanley Weintraub (review)

pp. 165-166

The Death of Character: Perspective on Theater after Modernism by Elinor Fuchs (review)

pp. 166-169

The Fate of the Object: From Modern Object to Postmodern Sign in Performance, Art and Poetry by Jon Erickson (review)

pp. 169-171

Performance and Cultural Politics ed. by Elin Diamond, and: The Intercultural Performance Reader ed. by Patrice Davis (review)

pp. 171-174

Theatre and Change in South Africa ed. by Geoffrey V. Davis and Anne Fuchs (review)

pp. 174-175

Performing Brecht: Forty Years of British Performances by Margaret Eddershaw (review)

pp. 175-178

The Feminist Possibilities of Dramatic Realism by Patricia R. Schroeder (review)

pp. 178-180


pp. 181-182

Research Areas


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