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Table of Contents

  1. What UK Spectators Know: Understanding How We Come to Value Theatre
  2. Janelle Reinelt
  3. pp. 337-361
  4. DOI: https://doi.org/10.1353/tj.2014.0099
  5. restricted access
  1. Perceiving and Believing: An Enactive Approach to Spectatorship
  2. Maaike Bleeker, Isis Germano
  3. pp. 363-383
  4. DOI: https://doi.org/10.1353/tj.2014.0073
  5. restricted access
  1. Emancipated Spectatorship and Subjective Drift: Understanding the Work of the Spectator in Erik Ehn’s Soulographie
  2. Emma Willis
  3. pp. 385-403
  4. DOI: https://doi.org/10.1353/tj.2014.0078
  5. restricted access
  1. Narcissistic Spectatorship in Immersive and One-on-One Performance
  2. Keren Zaiontz
  3. pp. 405-425
  4. DOI: https://doi.org/10.1353/tj.2014.0084
  5. restricted access
  1. Regarding Theatre: Thoughts on Recent Work by Simon Vincenzi and Romeo Castellucci
  2. Nicholas Ridout
  3. pp. 427-436
  4. DOI: https://doi.org/10.1353/tj.2014.0088
  5. restricted access
  1. Super Discount by Back to Back Theatre and David Woods (review)
  2. Helena Grehan
  3. pp. 437-439
  4. DOI: https://doi.org/10.1353/tj.2014.0092
  5. restricted access
  1. Measure Back by Christopher McElroen and T. Ryder Smith (review)
  2. David Bisaha
  3. pp. 439-441
  4. DOI: https://doi.org/10.1353/tj.2014.0097
  5. restricted access
  1. Four Days of Fury: Atlanta 1906 by Addae Moon (review)
  2. Elizabeth A. Osborne
  3. pp. 441-444
  4. DOI: https://doi.org/10.1353/tj.2014.0071
  5. restricted access
  1. The Color Purple by Marsha Norman, and: The Scottsboro Boys by David Thompson (review)
  2. Laura MacDonald
  3. pp. 444-448
  4. DOI: https://doi.org/10.1353/tj.2014.0076
  5. restricted access
  1. The Screen Dreams of Buster Keaton directed by Rachel Joseph (review)
  2. Richard H. Armstrong
  3. pp. 448-450
  4. DOI: https://doi.org/10.1353/tj.2014.0081
  5. restricted access
  1. The Gay Heritage Project by Damien Atkins, Andrew Kushnir, and Paul Dunn (review)
  2. Stephen Low
  3. pp. 450-452
  4. DOI: https://doi.org/10.1353/tj.2014.0086
  5. restricted access
  1. King Lear by William Shakespeare (review)
  2. Jae Kyoung Kim
  3. pp. 452-454
  4. DOI: https://doi.org/10.1353/tj.2014.0090
  5. restricted access
  1. Out There 2014: New World Visions (review)
  2. Jeanne Willcoxon
  3. pp. 454-458
  4. DOI: https://doi.org/10.1353/tj.2014.0095
  5. restricted access
  1. Shakespeare by Elçin (review)
  2. Marvin Carlson
  3. pp. 458-461
  4. DOI: https://doi.org/10.1353/tj.2014.0100
  5. restricted access
  1. Betrayal by Harold Pinter (review)
  2. Alisa Sniderman
  3. pp. 461-462
  4. DOI: https://doi.org/10.1353/tj.2014.0074
  5. restricted access
  1. Love and Information by Caryl Churchill (review)
  2. Elin Diamond
  3. pp. 462-465
  4. DOI: https://doi.org/10.1353/tj.2014.0079
  5. restricted access
  1. Immersion and the Spectator
  2. Margaret Werry, Bryan Schmidt
  3. pp. 467-479
  4. DOI: https://doi.org/10.1353/tj.2014.0085
  5. restricted access
  1. Fair Play: Art, Performance and Neoliberalism by Jen Harvie (review)
  2. Susan Bennett
  3. pp. 481-482
  4. DOI: https://doi.org/10.1353/tj.2014.0089
  5. restricted access
  1. Cultivating National Identity Through Performance: American Pleasure Gardens and Entertainment by Naomi J. Stubbs (review)
  2. Jennifer A. Kokai
  3. pp. 482-483
  4. DOI: https://doi.org/10.1353/tj.2014.0093
  5. restricted access
  1. Distance, Theatre, and The Public Voice, 1750–1850 by Melynda Nuss (review)
  2. John Robbins
  3. pp. 483-485
  4. DOI: https://doi.org/10.1353/tj.2014.0098
  5. restricted access
  1. Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing by Amy Holzapfel (review)
  2. Nevena Stojanovic
  3. pp. 485-486
  4. DOI: https://doi.org/10.1353/tj.2014.0072
  5. restricted access
  1. Theatre of the Real by Carol Martin (review)
  2. Alicia B. Corts
  3. pp. 486-487
  4. DOI: https://doi.org/10.1353/tj.2014.0077
  5. restricted access
  1. Political and Protest Theatre After 9/11: Patriotic Dissent Edited by Jenny Spencer (review)
  2. Susanne Shawyer
  3. pp. 487-488
  4. DOI: https://doi.org/10.1353/tj.2014.0082
  5. restricted access
  1. Rhapsody for the Theatre by Alain Badiou (review)
  2. David Krasner
  3. pp. 489-490
  4. DOI: https://doi.org/10.1353/tj.2014.0087
  5. restricted access
  1. Twentieth-Century British Theatre: Industry, Art and Empire by Claire Cochrane (review)
  2. Richard St. Peter
  3. pp. 490-491
  4. DOI: https://doi.org/10.1353/tj.2014.0091
  5. restricted access
  1. The Murray Edwards Duse Collection by Anna Sica and Alison Wilson (review)
  2. Thomas Postlewait
  3. pp. 491-492
  4. DOI: https://doi.org/10.1353/tj.2014.0096
  5. restricted access
  1. Chekhov for the 21st Century Edited by Carol Apollonio and Angela Brintlinger (review)
  2. James M. Brandon
  3. pp. 492-494
  4. DOI: https://doi.org/10.1353/tj.2014.0101
  5. restricted access
  1. Wooden Os: Shakespeare’s Theatres and England’s Trees by Vin Nardizzi (review)
  2. Lowell Duckert
  3. pp. 494-495
  4. DOI: https://doi.org/10.1353/tj.2014.0075
  5. restricted access
  1. Dark Matter: Invisibility in Drama, Theater, and Performance by Andrew J. Sofer (review)
  2. W. B. Worthen
  3. pp. 495-496
  4. DOI: https://doi.org/10.1353/tj.2014.0080
  5. restricted access
  1. Congratulations!
  3. p. x
  4. DOI: https://doi.org/10.1353/tj.2014.0083
  5. restricted access
  1. Editorial Comment: Spectatorship
  2. Ric Knowles
  3. pp. xi-xiv
  4. DOI: https://doi.org/10.1353/tj.2014.0094
  5. restricted access