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Volume 64, Number 2, May 2012

Table of Contents

Editorial Comment

Editorial Comment: What’s New?

p. 1

Performative Performances: A History and Theory of the “Copyright Performance”

pp. 161-177 | DOI: 10.1353/tj.2012.0054

Darkness Visible: The Early Melodrama of British Imperialism and the Commodification of History in Sheridan’s Pizarro

pp. 179-195 | DOI: 10.1353/tj.2012.0059

Staging Violence in Pig Iron Theatre Company’s Anodyne

pp. 197-211 | DOI: 10.1353/tj.2012.0032

Toward the Integration of Theatre History and Affect Studies: Shame and the Rude Mechs’s The Method Gun

pp. 213-230 | DOI: 10.1353/tj.2012.0037

Compiling West Side Story’s Parahistories, 1949–2009

pp. 231-247 | DOI: 10.1353/tj.2012.0042

Performance Reviews

Oregon Shakespeare Festival (review)

pp. 249-253 | DOI: 10.1353/tj.2012.0047

Le Théâtre Du Peuple, and: Avignon Festival (review)

pp. 253-257 | DOI: 10.1353/tj.2012.0052

Le Festival Ouverture (review)

pp. 257-260 | DOI: 10.1353/tj.2012.0057

South Africa’s National Arts Festival (review)

pp. 260-264 | DOI: 10.1353/tj.2012.0030

Passing The Flame: Dah Theatre’s 20th Anniversary Festival (review)

pp. 264-267 | DOI: 10.1353/tj.2012.0035

The Life And Death of Marina Abramović (review)

pp. 267-269 | DOI: 10.1353/tj.2012.0040

Sleep No More (review)

pp. 269-271 | DOI: 10.1353/tj.2012.0045

The Tenant (review)

pp. 271-273 | DOI: 10.1353/tj.2012.0050

Vyšniu Sodas—Der Kirschgarten (review)

pp. 273-275 | DOI: 10.1353/tj.2012.0055

Mask and Soul (review)

pp. 275-277 | DOI: 10.1353/tj.2012.0060

The Great Fire (review)

pp. 277-278 | DOI: 10.1353/tj.2012.0033

Brewsie and Willie (review)

pp. 278-281 | DOI: 10.1353/tj.2012.0038

Bootycandy (review)

pp. 281-283 | DOI: 10.1353/tj.2012.0043

Clybourne Park (review)

pp. 283-285 | DOI: 10.1353/tj.2012.0048

Book Reviews

Forging an English Bohemia

pp. 287-297 | DOI: 10.1353/tj.2012.0053

Review Essay

Interrogating Antigone in Post-Modern Philosophy and Criticism (review)

pp. 299-300 | DOI: 10.1353/tj.2012.0058

The Drama of Ideas: Platonic Provocations in Theater and Philosophy (review)

pp. 300-302 | DOI: 10.1353/tj.2012.0031

Offstage Space, Narrative, and the Theatre of the Imagination (review)

pp. 302-303 | DOI: 10.1353/tj.2012.0036

Theatre, Communication, Critical Realism (review)

pp. 303-304 | DOI: 10.1353/tj.2012.0041

Devising in Process (review)

pp. 304-306 | DOI: 10.1353/tj.2012.0046

The Journal of War and Culture Studies (review)

pp. 306-307 | DOI: 10.1353/tj.2012.0051

Theatre and Culture in Early Modern England, 1650–1737: From Leviathan to Licensing Act (review)

pp. 307-309 | DOI: 10.1353/tj.2012.0056

Players, Playwrights, Playhouses: Investigating Performance, 1660–1800 (review)

pp. 309-310 | DOI: 10.1353/tj.2012.0061

August Strindberg (review)

pp. 310-311 | DOI: 10.1353/tj.2012.0034

Laurette Taylor, American Stage Legend (review)

pp. 311-313 | DOI: 10.1353/tj.2012.0039

American Women Theatre Critics: Biographies and Selected Writings of Twelve Reviewers, 1753–1919 (review)

pp. 313-314 | DOI: 10.1353/tj.2012.0044

Doctoral Projects

Doctoral Projects in Progress in Theatre Arts, 2012

pp. 317-322 | DOI: 10.1353/tj.2012.0049

Research Areas

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