Brief Notices
- Brief Notices
This volume begins with a preface (ix–x), acknowledgments (xi–xii), and an introduction, “Family Life in the Age of Shakespeare” (xiii–xx). The primary text is divided into four parts. Part 1, “Shakespeare’s Family of Origin,” examines his grandfathers, father, uncle, mother, brothers, and sisters (3–56). Part 2, “Shakespeare’s Nuclear Family,” examines his wife, children, sons-in-law, and grandchildren (57–100). Part 3, “Shakespeare’s Extended Family,” examines his aunts, cousins, in-laws, nephews, and niece (101–32). Part 4, “Shakespeare’s Families in His Work,” examines family relationships in his plays (133–54). The volume concludes with Appendix A: “Family Relationships in the Plays” (155–61), Appendix B: “Stratford: Plays and Players” (162–69), Appendix C: “Katherine and Petruchio, Journey to a Happy Marriage” (170–78), notes (179–98), selected bibliography (199–204), and an index (205–11).
Following an introduction by the editor (1–7) this volume contains the following essays: Joshua Pederson, “Building the Aural Stage: Beckett’s Embers and Visual Radio” (8–22); Judith Roof, “The Disembodied Voice” (23–36); Ann C. Hall, “Spacing Out: Theatrical Space in Beckett’s Eleutheria and Pinter’s Dumb Waiter” (37–47); Angelica Duran, “Resurrecting John Milton” (48–67); John Pruitt, “Parlor Tricks: Dramatized Conduct Literature and the Performance of Eighteenth-Century Domesticity” (68–89); Eric McGuire, “Bringing the Revolution to the Stage: Representations of Women in Early Twentieth Century Irish Drama” (90–104); Jeanne Colleran, “Images, Evidence, and Spectatorship in Caryl Churchill’s Far Away” (105–19); Jonathan LaGuardia, “The Pillowman and Representations of Violence” (120–38); Jon Steiner, “Reconstructing the Real: Verbatim Theatre’s Response to the War on Terror” (139–48); Lance Norman, “‘This Story Has More Other Hands Than a Hindu God:’ Mathematical Theatre and the Subversion of Indeterminate History” (149–65); Keith Peacock, “Technology, History, and Postmodernism in Howard Brenton’s HID: Hess is Dead” [End Page 137] (166–77); Lynn Hall, “Performing, Playing, Politicking: Theatre as Dis(e)ruption” (178–90); Mardia Bishop, “African Theatre for Development in America’s Heartland” (191–202). The text concludes with contributor biographies (203–5).
This volume begins with acknowledgments (vii), a preface (1–2), and an introduction, “The Panoptic Tennessee Williams,” by the editor (3–14). The primary text includes the following essays: Michael Greewald, “‘[Our] Little Company of the Odd and Lonely’: Tennessee Williams’s ‘Personality’ in the Plays of William Inge” (15–30); Susan Koprince, “Neil Simon’s Parodies of Tennessee Williams” (31–41); David A. Crespy, “‘Inconspicuous Osmosis and the Plasticity of Doing’: The Influence of Tennessee Williams on the Plays of Edward Albee” (42–54); Arvid F. Sponberg, “‘Cracking the Shell of Literalness’: The Itinerary of Paternal Consciousness in Williams’s Tragedy with Notes on Its Influence” (55–67); Nancy Cho, “‘That gentleman with the painfully sympathetic eyes …’: Re-reading Lorraine Hansberry Through Tennessee Williams” (68–78); Philip C. Kolin, “The Fission of Tennessee Williams’s Plays into Adrienne Kennedy’s” (79–94); Thomas Mitchell, “Warriors Against the Kitchen Sink: Tennessee Williams and John Guare” (95–105); Annette J. Saddik, “Image, Myth, and Movement in the Plays of Sam Shepard and Tennessee Williams” (106–21); Sandra G. Shannon, “Sons of the South: An Examination of the Interstices in the Works of August Wilson and Tennessee Williams” (122–35); Brenda Murphy, “Williams, Mamet, and the Artist in Extremis” (136–47); Verna A. Foster, “The Symbiosis of Desire and Death: Beth Henley Rewrites Tennessee Williams” (148–61): John M. Clum, “‘Period of Adjustment’: Marriage in Williams and Christopher Durang” (162–74); Kirk Woodward, “‘All Truth Is a Scandal;” How Tennessee Williams Shaped Tony Kushner’s Plays” (175–86); Harvey Young, “Twilight in Tennessee: The Similar Styles of Anna Deavere Smith and Tennessee Williams” (187–99); Harry J. Elam, Jr., “Theatre of the Gut...
