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Browse Book and Journal Content on Project MUSE

Volume 63, Number 1, March 2011

Table of Contents

Editorial Comment: Celebrating New Authors

pp. 9-12 | DOI: 10.1353/tj.2011.0033

What Did It Mean to Act in the Middle Ages?: Elisabeth of Spalbeek and Imitatio Christi

pp. 1-21 | DOI: 10.1353/tj.2011.0026

Ludus Populi: The Practice of Nonsense

pp. 23-41 | DOI: 10.1353/tj.2011.0032

The Closet Is a Deathtrap: Bisexuality, Duplicity, and the Dangers of the Closet in the Postmodern Thriller

pp. 43-59 | DOI: 10.1353/tj.2011.0004

Slavery and the Theatre of History: Ritual Performance on the Auction Block

pp. 61-84 | DOI: 10.1353/tj.2011.0009

"The Sounds of Deeds": Karl Kraus and Acoustic Quotation

pp. 85-100 | DOI: 10.1353/tj.2011.0014

Performance Review

Oregon Shakespeare Festival (review)

pp. 101-106 | DOI: 10.1353/tj.2011.0019

The Madness of George III, and: King Lear (review)

pp. 106-109 | DOI: 10.1353/tj.2011.0024

Kamp (review)

pp. 109-111 | DOI: 10.1353/tj.2011.0030

Beyond the Horizon, and: Spring Storm (review)

pp. 111-115 | DOI: 10.1353/tj.2011.0002

Herr Paul (review)

pp. 115-116 | DOI: 10.1353/tj.2011.0007

I am Jerusalem (review)

pp. 116-118 | DOI: 10.1353/tj.2011.0012

Mama Hated Diesels (review)

pp. 118-120 | DOI: 10.1353/tj.2011.0017

Standing on Ceremony: The Gay Marriage Plays (review)

pp. 120-121 | DOI: 10.1353/tj.2011.0022

Promises, Promises (review)

pp. 121-123 | DOI: 10.1353/tj.2011.0028

Fences (review)

pp. 123-125 | DOI: 10.1353/tj.2011.0000

Cédric Andrieux (review)

pp. 125-127 | DOI: 10.1353/tj.2011.0005

Buckworld One (review)

pp. 127-129 | DOI: 10.1353/tj.2011.0010

Book Review

Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim and Lloyd Webber, and: Off-Broadway Musicals, 1910–2007: Casts, Credits, Songs, Critical Reception and Performance Data of More than 1,800 Shows, and: "No Legs, No Jokes, No Chance": A History of the American Musical Theater, and: Show Tunes: The Songs, Shows, and Careers of Broadway's Major Composers (review)

pp. 131-135 | DOI: 10.1353/tj.2011.0025

Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader (review)

pp. 135-136 | DOI: 10.1353/tj.2011.0031

The Amalgamation Waltz: Race, Performance, and the Ruses of Memory (review)

pp. 136-138 | DOI: 10.1353/tj.2011.0003

Embodying Black Experience: Stillness, Critical Memory, and the Black Body (review)

pp. 138-139 | DOI: 10.1353/tj.2011.0008

Black Feminism in Contemporary Drama (review)

pp. 139-140 | DOI: 10.1353/tj.2011.0013

Street Scenes: Staging the Self in Immigrant New York, 1880–1924, and: The Immigrant Scene: Ethnic Amusements in New York, 1880–1920 (review)

pp. 140-142 | DOI: 10.1353/tj.2011.0018

Dramaturgy of the Real on the World Stage (review)

pp. 142-143 | DOI: 10.1353/tj.2011.0034

The Theatricality of Robert Lepage (review)

pp. 143-144 | DOI: 10.1353/tj.2011.0023

Visuality in the Theatre: The Locus of Looking (review)

pp. 145-146 | DOI: 10.1353/tj.2011.0029

The Rose and the Globe—Play-Houses of Shakespeare's Bank-Side, Southwark: Excavations 1988–90 (review)

pp. 146-147 | DOI: 10.1353/tj.2011.0001

Comedy Matters: From Shakespeare to Stoppard (review)

pp. 147-148 | DOI: 10.1353/tj.2011.0006

Handspring Puppet Company (review)

pp. 148-149 | DOI: 10.1353/tj.2011.0011

The Kenning Anthology of Poets Theater: 1945–1985, and: Poets at Play: An Anthology of Modernist Drama (review)

pp. 150-151 | DOI: 10.1353/tj.2011.0016

Books Received

pp. 152-158 | DOI: 10.1353/tj.2011.0021

Research Areas


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