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  • Books Received

*Assigned for review

**Review appears in JDTC’s Spring 2016 issue

Book reviews should be between 800 and 1000 words for single book reviews (1,500 words for double book reviews) and conform to the MLA Handbook. Reviews should include title and publication information, current price of the book in both cloth and paper (if applicable), and length in pages, inclusive of front matter and appendices. Reviews should speak to the book’s strengths and/or weaknesses, its contribution to the field in relation to similar/competing volumes (if applicable), and the particular audiences to whom the book would be most helpful. Reviews should end with the name of the reviewer, followed by institutional affiliation. See the list of books received below.

Individuals interested in reviewing books for JDTC may submit a statement of expertise or brief CV to Christine Woodworth, book review editor, at

Authors and presses may send review copies of books to:

Christine Woodworth, JDTC Book Review Editor

Theatre Department

Gearan Center for the Performing Arts

Hobart and William Smith Colleges

300 Pulteney St.

Geneva, NY 14456

*Bank, Rosemarie K. and Michal Kobialka, eds. Theatre/Performance Historiography: Time, Space, Matter. New York: Palgrave Macmillan, 2015.
Banks, Fiona. Creative Shakespeare: The Global Education Guide to Practical Shakespeare. New York: Bloomsbury, 2014.
Barnett, David. Brecht in Practice: Theatre, Theory and Performance. New York: Bloomsbury, 2015. Methuen Drama Engage.
Belsey, Catherine. Romeo and Juliet: Language and Writing. New York: Bloomsbury, 2014. The Arden Shakespeare. [End Page 150]
Berendse, Sabine and Paul Clements, eds. and trans. Brecht, Music and Culture: Hanns Eisler in Conversation with Hans Bunge. New York: Bloomsbury, 2014.
*Berger, Harry, Jr. A Fury in the Words: Love and Embarrassment in Shakespeare’s Venice. New York: Fordham UP, 2013.
Bial, Henry. Playing God: The Bible on the Broadway Stage. Ann Arbor: U of Michigan P, 2015.
**Bloom, Arthur W. Edwin Booth: A Biography and Performance History. New York: McFarland, 2013.
**Bonczek, Rose Burnett and David Storck. Ensemble Theatre Making: A Practical Guide. New York: Routledge, 2013.
Brome, Richard. A Jovial Crew. Ed. Tiffany Stern. New York: Bloomsbury, 2014. Arden Early Modern Drama.
Brown, Carolyn E. Shakespeare and Psychoanalytic Theory. New York: Bloomsbury Methuen Drama, 2015. The Arden Shakespeare.
**Bryer, Jackson R. and Robert M. Dowling, eds. Eugene O’Neill: The Contemporary Reviews. New York: Cambridge UP, 2014. American Critical Archives.
Burwick, Frederick. British Drama of the Industrial Revolution. Cambridge: Cambridge UP, 2015.
*Bush, Sophie. The Theatre of Timberlake Wertenbaker. New York: Bloomsbury, 2013. Critical Companions.
*Camp, Pannill. The First Frame: Theatre Space in Enlightenment France. Cambridge: Cambridge UP, 2014.
Canning, Charlotte M. On the Performance Front: US Theatre and Internationalism. New York: Palgrave Macmillan, 2015. Studies in International Performance.
**Carpenter, Faedra Chatard. Coloring Whiteness: Acts of Critique in Black Performance. Ann Arbor: U of Michigan P, 2014. Theater: Theory/Text/Performance.
Cefalu, Paul. Tragic Cognition In Shakespeare’s Othello. New York: Bloomsbury Arden Shakespeare, 2015. Shakespeare Now! [End Page 151]
**Chaudhuri, Una and Holly Hughes, eds. Animal Acts: Performaning Species Today. Ann Arbor: U of Michigan P, 2014. Critical Performances.
Chen, Xiaomei, ed. The Columbia Anthology of Modern Chinese Drama. Abr. ed. New York: Columbia UP, 2014.
Citron, Atay, Sharon Aronson-Lehavi, and David Zerbib, eds. Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century. New York: Bloomsbury, 2014.
**Clare, Janet. Shakespeare’s Stage Traffic: Imitation, Borrowing and Competition in Renaissance Theatre. New York: Cambridge University Press, 2014.
**Claycomb, Ryan. Lives in Play: Autobiography and Biography on the Feminist Stage. Ann Arbor: University of Michigan Press, 2012.
*Crowl, Samuel. Screen Adaptations: Shakespeare’s Hamlet: The Relationship Between Text and Film. New York: Bloomsbury, 2014.
*Cull, Laura and Alice Lagaay, eds. Encounters in Performance Philosophy. New York: Palgrave Macmillan, 2014. Performance Philosophy.
**Cull, Laura and Will Daddario, eds. Manifesto Now! Instructions for Performance, Philosophy, Politics. Chicago: Intellect/U of Chicago P, 2013.
D’Monte, Rebecca. British Theatre and Performance, 1900-1950. New York: Bloomsbury Methuen Drama, 2015. Critical Companions.
Eis, Joel D. The Function of the Ekkyklema in Greek Theatre. New York: Edwin Mellen Press, 2015.
Escolme, Bridget. Emotional Excess on the Shakespearean Stage: Passion’s Slaves. New York: Bloomsbury, 2014...


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