Volume 60, Number 1, Spring 2017

Table of Contents

Still: Sarah Kane after Beckett and Joy Division

pp. 1-24

Dramatizing Queer Visibility in El público: Federico García Lorca in Search of a Modern Theatre

pp. 25-45

Samuel Beckett’s Krapp’s Last Tape: Remembering Kant, Forgetting Proust

pp. 46-68

Taphonomic Historiography: Excavating and Exhuming the Past in Suzan-Lori Parks’s The America Play

pp. 69-88

Looking After the Drainage: Health, Marketing, and the Turkish Bath in Bernard Shaw’s Misalliance

pp. 89-112

Reviews

All Dressed Up: Modern Irish Historical Pageantry by Joan FitzPatrick Dean (review)

pp. 113-115

Reckoning with Spirit in the Paradigm of Performance by Donnalee Dox (review)

pp. 115-118

Ibsen in Practice: Relational Readings of Performance, Cultural Encounters and Power by Frode Helland (review)

pp. 118-120

The Captive Stage: Performance and the Proslavery Imagination of the Antebellum North by Douglas A. Jones, Jr. (review)

pp. 121-123

The Theatre of David Henry Hwang by Esther Kim Lee (review)

pp. 123-126

Grotowski’s Bridge Made of Memory: Embodied Memory, Witnessing and Transmission in the Grotowski Work by Dominika Laster (review)

pp. 126-128

Skin Acts: Race, Psychoanalysis, and the Black Male Performer by Michelle Ann Stephens (review)

pp. 128-130

Plowed Under: Food Policy Protests and Performance in New Deal America by Ann Folino White (review)

pp. 130-132