Brief Notices
- Brief Notices
This volume begins with contributors (ix–xi), acknowledgments (xii–xiii), and an introduction by the editor, “Right Here, Right Now” (1–20). The primary text includes the following contributions: Caoimhe McAvinchey, “Lois Weaver: Interview and Introduction” (21–32); Sue Mayo, “‘A Marvelous Experiment’—Exploring Ideas of Temporary Community in a Magic Me Intergenerational Performance Project” (33–62); Caoimhe McAvinchey, “Mojisola Adebayo: Interview and Introduction” (63–74); Ali Campbell, “Lawnmowers Independent Theatre Company: The Politics of Making” (75–105); Caoimhe McAvinchey, “Bobby Baker: Interview and Introduction” (105–14); Richard Ings, “Meeting the Others: Jeremy Weller’s Grassmarket Project” (115–40); Martin Welton, “Rosemary Lee: Interview and Introduction” (141–54); Louise Owen, “The Witness and the Replay: London Bubble” (155–88); Lily Einhorn, “Sue Emmas: Interview and Introduction” (189–200); Sue Mayo, “The Artist in Collaboration: Art-Making and Partnership in the Work of Mark Storor and Anna Ledgard” (201–30); Caoimhe McAvinchey, “Tony Fegan: Interview and Introduction” (231–42); Caoimhe McAvinchey, “Paul Heritage: Interview and Introduction” (243–54). The text concludes with permissions (255–56).
This volume begins with acknowledgments (ix–x), a key to abbreviations (xi–xii), a list of illustrations (xiii), an introduction (1–52), note on the edition of Partenia (53–64), and illustrations (65–68). The primary text includes the translated play in English along with the original Italian on opposite pages (69–288). The text concludes with appendix A (289–314), appendix B (315–26), a bibliography (327–46), and an index (347–59). [End Page 327]
This volume begins with acknowledgments (v) and an introduction by the editor (1–20). The primary text includes the following plays: Leila Buck, ISite (21–44); Jamil Khoury, Precious Stones (45–86); Yussef El Guindi, Our Enemies: Lively Scenes of Love and Combat (87–138); Lamecce Issaq and Jacob Kader, Food and Fadwa (139–86). The text concludes with an afterward by Jamil Khoury, “Toward an Arab American Theatre Movement” (187–92).
This volume begins with a foreword by Jill L. Levenson (xi–xiv) and includes essays in two parts. Part 1, “Renaissance Shakespeare: Interpretations, Performance, and Contexts,” includes: Stanley Wells, “Shakespeare: Man of the European Renaissance” (3–20); Joel Rodgers, “Talbot, Incorporated” (21–28); Elizabeth Pentland, “Hamlet and the French Wars of Religion” (29–37); Randall Martin, “Ecology, Evolution, and Hamlet” (38–50); Robert Darcy, “The Anticipatory Premise of History in the Reception of Shakespeare’s Sonnets” (51–59); Atsuhiko Hirota, “The Balance of Power in King Lear’s Kingdoms” (60–67); Darryl Chalk, “‘Here’s a Strange Alteration’: Contagion and the Mutable Mind in Coriolanus” (68–76); Supriya Chaudhuri, “Making Visible: Afterlives in Shakespeare’s Pericles” (77–87); Kimberly R. West, “A Legal Assessment of the Circumstantial Evidence in The Winter’s Tale” (88–95); Sukanta Chaudhuri, “Shakespeare’s Lost Pastorals” (96–104); Margaret Shewring, “Shakespeare and Festival” (105–14); Richard Fotheringham, “Using On-Screen Modeling to Examine Shakespearean Stage Performance” (115–24); Ros King, “What Are We Doing When We’re ‘Doing Shakespeare’? The Embodied Brain in Theatrical Experience” (125–34); James J. Marino, “The Queen of Bohemia’s Wedding” (135–42); Brian Walsh, “The Puritan Widow and London Parishes” (143–50); Eleanor Collins, “Old Repertory, New Theatre: Expectation and Experience in Christopher Beeston’s Cockpit” (151–58); M. A. Katrizky, “‘A Plague o’ These Pickle Herring’: From London Drinkers to European Stage Clown” (159–70). Part 2, “Shakespeare Renaissances: Appropriations, Adaptations, and Afterlives,” includes: Martin Hilský, “Shakespeare’s Theatre of Language: Czech Experience” (171–80); Ann Jennalie Cook, Vlasta Gallerová, Karel...
