1. Theory and the Theatre
  2. The Editors
  3. pp. 4-5
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  1. The Controversial 1985–86 Theatre Season: A Politics of Reception
  2. Bonnie Marranca, Gerald Rabkin, Johannes Birringer
  3. pp. 7-33
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  1. Odd, Anonymous Needs: The Audience in a Dramatized Society
  2. Herbert Blau
  3. pp. 34-42
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  1. The Balcony by Jean Genet (review)
  2. Arthur Holmberg
  3. pp. 43-46
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  1. The Terrible but Unended Story of Norodom Sihanouk: King of Cambodia by Helene Cixous (review)
  2. Rosette Lamont
  3. pp. 46-50
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  1. Antigone by Sophocles (review)
  2. Marc Robinson
  3. pp. 50-54
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  1. Hamletmachine by Heiner Müller (review)
  2. Gordon Rogoff
  3. pp. 54-57
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  1. Interface: Hilton Kramer
  2. Gautam Dasgupta, Herbert Blau, Gerald Rabkin, Hilton Kramer
  3. pp. 59-76
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  1. The PAJ Casebook: Alcestis
  2. p. 79
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  1. Director
  2. Robert Wilson
  3. pp. 86-87
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  1. Set Design
  2. Tom Kamm
  3. pp. 87-90
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  1. Costumes
  2. John Conklin
  3. pp. 90-91
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  1. Music
  2. Laurie Anderson
  3. pp. 92-93
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  1. Movement
  2. Suzushi Hanayagi
  3. pp. 93-94
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  1. Kyogen Translator
  2. Mark Oshima
  3. p. 94
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  1. Playwright
  2. Heiner Müller
  3. pp. 95-97
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  1. Actress
  2. Diane D’Aquila
  3. pp. 97-100
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  1. Actor
  2. Paul Rudd
  3. pp. 100-102
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  1. Audio Environment
  2. Hans Peter Kuhn
  3. pp. 102-103
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  1. Lighting
  2. Jennifer Tipton
  3. pp. 103-104
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  1. Müller Translator
  2. Carl Weber
  3. pp. 104-105
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  1. Description of a Picture/Explosion of a Memory
  2. Heiner Müller, Carl Weber
  3. pp. 106-110
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  1. Robert Wilson’s Alcestis: Based on a play by Euripides
  2. pp. 111-113
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  1. Alcestis Cast
  2. pp. 114-115
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  1. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present by Marvin Carlson (review)
  2. Bonnie Marranca
  3. p. 116
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  1. Pleasures of the Belle Epoque: Entertainment and Festivity in Turn-of-the-Century France by Charles Rearick (review)
  2. Adam Parfrey
  3. p. 118
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  1. Essays on German Theater ed. by Margaret Herzfeld-Sander (review)
  2. Bonnie Marranca
  3. pp. 118-119
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  1. An Introduction
  2. Elinor Fuchs
  3. pp. 80-85
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