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  Volume 56, Number 1, Spring 2013

Table of Contents


“These Noxious Microbes”: Pathological Dramaturgy in George Bernard Shaw’s Too True to Be Good

pp. 1-18 | DOI: 10.1353/mdr.2013.0012

Bernard Shaw’s Stalinist Allegory: The Simpleton of the Unexpected Isles

pp. 19-37 | DOI: 10.1353/mdr.2013.0001

Mobilizing Maurya: J.M. Synge, Bertolt Brecht, and the Revolutionary Mother

pp. 38-59 | DOI: 10.1353/mdr.2013.0003

Revisiting Marat/Sade: Philosophy in the Asylum, Asylum in the Theatre

pp. 60-79 | DOI: 10.1353/mdr.2013.0005

Harold Pinter’s “More Precisely Political” Dramas, or a Post-1983 Economy of Affect

pp. 80-101 | DOI: 10.1353/mdr.2013.0007

To Witness Mimesis: The Politics, Ethics, and Aesthetics of Testimonial Theatre in Through the Wire

pp. 102-125 | DOI: 10.1353/mdr.2013.0009

10 Ways of Thinking about Samuel Beckett: The Falsetto of Reason by Enoch Brater (review)

pp. 126-128 | DOI: 10.1353/mdr.2013.0011

The Making of the West End Stage: Marriage, Management and the Mapping of Gender in London, 1830–1870 by Jacky Bratton (review)

pp. 128-130 | DOI: 10.1353/mdr.2013.0000

Synge and Edwardian Ireland ed. by Brian Cliff and Nicholas Grene (review)

pp. 130-132 | DOI: 10.1353/mdr.2013.0002

The Drama of Marriage: Gay Playwrights/Straight Unions from Oscar Wilde to the Present by John M. Clum (review)

pp. 132-135 | DOI: 10.1353/mdr.2013.0004

Melodramatic Voices: Understanding Music Drama ed. by Sarah Hibberd (review)

pp. 135-137 | DOI: 10.1353/mdr.2013.0006

Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890–1930 by Koritha Mitchell (review)

pp. 137-140 | DOI: 10.1353/mdr.2013.0008

My Friend Tom: The Poet-Playwright Tennessee Williams by William Jay Smith (review)

pp. 140-142 | DOI: 10.1353/mdr.2013.0010

Native American Drama: A Critical Perspective by Christy Stanlake (review)

pp. 142-144 | DOI: 10.1353/mdr.2013.0013

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