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Deborah Uman and Sara Morrison, eds. Staging the Blazon in Early Modern English Theater. Farnham: Ashgate, 2013. Pp. xi + 220. $99.95.

This volume begins with notes on contributors (vii–x), acknowledgments (xi), and an introduction, “Setting the Stage,” (1–12) by the editors. The primary text includes essays in five parts. Part 1, “Petrarchan Lovers in Performance,” includes: Grant Williams, “Double Exposure: Gazing at Male Fantasy in Shakespearean Comedy” (13–24); Katherine R. Kellett, “Petrarchan Desire, the Female Ghost, and The Winter’s Tale” (25–36); Elizabeth Williamson, “Dismembering Rhetoric and Lively Action in The Two Gentlemen of Verona” (37–52). Part 2, “Staging Blazonic Violence,” includes: Lisa S. Starks-Estes, “Transforming Ovid: Images of Violence, Vulnerability, and Sexuality in Shakespeare’s Titus Andronicus” (53–66); Sara Morrison, “Embodying the Blazon: Performing and Transforming Pain in Measure for Measure and The Duchess of Malfi” (67–84). Part 3, “Dramatizing Dismemberment,” includes: Patricia Marchesi, “‘Limbs mangled and torn asunder’: Dismemberment, Theatricality, and the Blazon in Christopher Marlowe’s Doctor Faustus” (85–96); Ariane M. Balizet, “The Cuckold’s Blazon: Dismemberment and Domesticity in Arden of Faversham and A Woman Killed with Kindness” (97–108); Thomas P. Anderson, “‘Ay me, this object kills me!’: Julie Taymor’s Cinematic Blazon in Titus” (109–24). Part 4, “Historical Reenactments,” includes: Joseph M. Ortiz, “By the Book: Blazoning the Subject in Shakespeare’s History Plays” (125–36); Lisa Dickson, “The Blazon and the Theater of War: The Wars of the Roses and The Plantagenets” (137–48); Erin E. Kelly, “‘They use violence to him’: Dismembering the Body Politic in The Rebellion of Naples” (149–64). Part 5, “Witnessing the Blazon,” includes: Sara D. Luttfring, “Dissection, Pregnancy, and the Limits of Knowledge in Early Modern Midwifery Treatises and ‘Tis Pity She’s a Whore” (165–76); Nancy Simpson-Younger, “‘The garments of Posthumus’: Identifying the Non-Responsive Body in Cymbeline” (177–88); Cora Fox, “Blazons of Desire and War in Shakespeare’s Troilus and Cressida” (189–200). The text concludes with a bibliography (201–16) and an index (217–20).

Norma Bowles and Daniel-Raymond Nadon, eds. Staging Social Justice: Collaborating to Create Activist Theatre. Carbondale: Southern Illinois University Press, 2013. Pp. xxiv + 299. $35.00.

This volume begins with a forward by Bill Rauch (xi–xvi), a preface by the editors (xvii–xxii), acknowledgments (xxiii–xxiv), and an introduction by Norma Bowles (1–13). The primary text includes essays in six parts with brief introductions to each. Part 1, “Devising Text: Collaborative Decision Making,” [End Page 589] includes: Flint, “Teaching without Lecturing: A Lesson in (Re)Writing History” (16–25); Carly Halse, “Brief Encounters between Disciplines and Cultures: An Analysis of the Dramaturgical Quilting Bee” (26–36); Megan Hanley, “Are You an Inmate? Collective Decision Making in the Development of If Yes, Please Explain…” (37–43); Cristina Pippa, “Writing Conflict Out of Schools” (44–49). Part 2, “Marketing the Revolution: Aesthetics and Impact of Activist Theatre,” includes: David Kaye, “Moving beyond the Comfort Zone: The Quest for Theatre for Social Justice Impact” (55–65); Susan V. Iverson, “Inspiring Change and Action: Measuring the Impact of Theatre for Social Justice” (66–75); Daniel-Raymond Nadon, “Sympathy vs. Stigma: Writing the ‘Victim’” (76–83); Michael Ellison, “Do Not Try This at Home!” (84–92); Norma Bowles, “A Few More Things about Aesthetics” (93–94). Part 3, “Community and Coalition Building: Reaching Beyond the Choir,” includes: Diane Finnerty, “Creating Space for Intergenerational LGBT Community and Movement Building” (97–107); Amanda Dunne Acevedo and Lindsay Barlag Thornton, “What Comes Next? A Guide to Organizing, Activating, and Rallying the College Campus” (108–19); Ann Elizabeth Armstrong, “Rehearsing for Dialogue: Facilitation Training and Miami University’s A More Perfect Union” (120–36); Bryan C. Moore, “Pushing without Shoving: Ethics of and Emphasis on Target Participation in TSJ Institutes” (137–43); Tracey Calhoun, “We Are Who We Are: Theatre to Confront Homophobia and Transform Education into Social Praxis” (144–53). Part 4, “Creating a Safe Space and a Great Show,” includes: Bernard Solano and Paula Weston Solano, “It’s Safe to Say” (157–66); Xanthia Angel Walker, “Pronouns, Play Building, and the Principal: Negotiating Multiple Sites of Activism in...


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