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Volume 57, Number 2, Summer 2014

Table of Contents


p. v

The Chronotopic Dynamics of Ibsen’s Pillars of Society: The Triumph of Industrialism, or How Drama Becomes History

pp. 143-164

Ventriloquist Theatre and the Omniscient Narrator: Gatz and El pasado es un animal grotesco

pp. 165-186

Parody, E.E. Cummings, and Uncle Tom’s Cabin

pp. 187-206

“A Little History Here, a Little Hollywood There”: (Counter-) Identifying with the Spanish Fantasy in Carlos Morton’s Rancho Hollywood and Theresa Chavez’s L.A. Real

pp. 207-228

“Remove Your Mask”: Character Psychology in Introspective Musical Theatre – Sondheim’s Follies, LaChiusa’s The Wild Party, and Stew’s Passing Strange

pp. 229-251

Rethinking Sarah Kane’s Characters: A Human(ist) Form and Politics

pp. 252-272

The Politics and Poetics of Contemporary English Tragedy by Sean Carney (review)

pp. 273-275

Women’s Voices on American Stages in the Early Twenty-First Century: Sarah Ruhl and Her Contemporaries by Leslie Atkins Durham (review)

pp. 275-278

Performing Hybridity in Colonial-Modern China by Siyuan Liu (review)

pp. 278-280

Theatre of the Real by Carol Martin (review)

pp. 280-282

Ludics in Surrealist Theatre and Beyond by Vassiliki Rapti (review)

pp. 282-284

Acts and Apparitions: Discourses on the Real in Performance Practice and Theory, 1990-2010 by Liz Tomlin (review)

pp. 284-287

Acts of Gaiety: LGBT Performance and the Politics of Pleasure by Sara Warner (review)

pp. 287-289

Performance in the Blockades of Neoliberalism: Thinking the Political Anew by Maurya Wickstrom (review)

pp. 289-292

Research Areas


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