1. Oedipus the Queen: Cross-gendering without Drag
  2. Kirk Ormand
  3. pp. 1-28
  4. DOI: 10.1353/tj.2003.0033
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  1. Women and Oaths in Euripides
  2. Judith Fletcher
  3. pp. 29-44
  4. DOI: 10.1353/tj.2003.0020
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  1. Distant Ventriloquism: Vocal Mimesis, Agency and Identity in Ancient Greek Performance
  2. C. B. Davis
  3. pp. 45-65
  4. DOI: 10.1353/tj.2003.0015
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  1. The Uncompleted Theatres of Rome
  2. Constance Campbell
  3. pp. 67-79
  4. DOI: 10.1353/tj.2003.0009
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  1. Memory, Mimesis, Tragedy: The Scene Before Philosophy
  2. Paul A. Kottman
  3. pp. 81-97
  4. DOI: 10.1353/tj.2003.0028
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  1. History, Collective Memory, and Aeschylus' Persians
  2. Attilio Favorini
  3. pp. 99-111
  4. DOI: 10.1353/tj.2003.0019
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  1. French Scenes in Greek Tragedy: The Scenic Structure of Classical Drama
  2. Mark Damen
  3. pp. 113-134
  4. DOI: 10.1353/tj.2003.0014
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  1. Medea (review)
  2. Elin Diamond
  3. pp. 135-136
  4. DOI: 10.1353/tj.2003.0016
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  1. Lysistrata (review)
  2. Andrew Sofer
  3. pp. 137-138
  4. DOI: 10.1353/tj.2003.0044
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  1. Electra (review)
  2. Bonnie Jean Eckard
  3. pp. 138-140
  4. DOI: 10.1353/tj.2003.0018
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  1. Dionysus (review)
  2. Mark Weidman
  3. pp. 140-141
  4. DOI: 10.1353/tj.2003.0047
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  1. Theban Cycle (review)
  2. Dana Rufolo-Horhager
  3. pp. 141-144
  4. DOI: 10.1353/tj.2003.0040
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  1. The Bacchai (review)
  2. Arvid F. Sponberg
  3. pp. 144-146
  4. DOI: 10.1353/tj.2003.0045
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  1. Helen (review)
  2. Elizabeth Watson Scharffenberger
  3. pp. 146-148
  4. DOI: 10.1353/tj.2003.0043
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  1. Henry VI: Revenge in France, and: Henry IV: Revolt in England (review)
  2. Owen Edward Brady
  3. pp. 148-149
  4. DOI: 10.1353/tj.2003.0008
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  1. Maria Stuart (review)
  2. Norman Roessler
  3. pp. 150-151
  4. DOI: 10.1353/tj.2003.0037
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  1. Princess Ivona (review)
  2. Kathleen M. Cioffi
  3. pp. 151-153
  4. DOI: 10.1353/tj.2003.0011
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  1. No Exit (review)
  2. Sharon Aronson-Lehavi
  3. pp. 153-154
  4. DOI: 10.1353/tj.2003.0002
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  1. La Malasangre (review)
  2. Miriam Glushakoff
  3. pp. 154-156
  4. DOI: 10.1353/tj.2003.0021
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  1. Death of a Salesman (review)
  2. Andrew Kimbrough
  3. pp. 156-158
  4. DOI: 10.1353/tj.2003.0027
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  1. Constant Star (review)
  2. Alisa C. Roost
  3. pp. 158-159
  4. DOI: 10.1353/tj.2003.0039
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  1. Relentless (review)
  2. Lee Papa
  3. pp. 160-161
  4. DOI: 10.1353/tj.2003.0034
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  1. Show People: Downtown Directors and the Play of Time (review)
  2. Joshua Abrams
  3. pp. 161-164
  4. DOI: 10.1353/tj.2003.0001
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  1. The Goat or Who Is Sylvia? (review)
  2. Richard Brad Medoff
  3. pp. 164-166
  4. DOI: 10.1353/tj.2003.0031
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  1. Homebody/Kabul (review)
  2. Peggy Phelan
  3. pp. 166-168
  4. DOI: 10.1353/tj.2003.0036
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  1. The 2002 Theatertreffen (review)
  2. John Rouse
  3. pp. 168-173
  4. DOI: 10.1353/tj.2003.0041
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  1. To You, The Birdie! (Phedre) (review)
  2. Gaby Cody
  3. pp. 173-175
  4. DOI: 10.1353/tj.2003.0012
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  1. Women on the Edge: Four Plays (review)
  2. Monica Silveira Cyrino
  3. pp. 178-179
  4. DOI: 10.1353/tj.2003.0013
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  1. Rites of Passage in Ancient Greece: Literature, Religion, Society (review)
  2. Eric Wiley
  3. pp. 179-180
  4. DOI: 10.1353/tj.2003.0048
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  1. The Athenian Sun in an African Sky (review)
  2. Margaret Williamson
  3. pp. 181-182
  4. DOI: 10.1353/tj.2003.0049
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  1. The Gift of the Nile: Hellenizing Egypt from Aeschylus to Alexander (review)
  2. Denise Eileen McCoskey
  3. pp. 182-183
  4. DOI: 10.1353/tj.2003.0030
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  1. Theatre as Holy Script (review)
  2. Norman A. Bert
  3. pp. 184-185
  4. DOI: 10.1353/tj.2003.0006
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  1. The Boastful Chef: The Discourse of Food in Ancient Greek Comedy (review)
  2. Sander M. Goldberg
  3. pp. 185-186
  4. DOI: 10.1353/tj.2003.0022
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  1. Geographies of Learning: Theory and Practice, Activism and Performance (review)
  2. Lisa Merrill
  3. pp. 186-187
  4. DOI: 10.1353/tj.2003.0032
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  1. Signifying God: Social Relation and Symbolic Act in the York Corpus Christi Plays (review)
  2. Alexandra F. Johnston
  3. pp. 187-188
  4. DOI: 10.1353/tj.2003.0025
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  1. The Dramatic Art of Athol Fugard: From South Africa to the World (review)
  2. John Agee Ball
  3. pp. 188-190
  4. DOI: 10.1353/tj.2003.0004
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  1. Shakespeare on the American Yiddish Stage (review)
  2. Shari Troy
  3. pp. 190-191
  4. DOI: 10.1353/tj.2003.0046
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  1. American Avant-Garde Theatre: A History (review)
  2. James Martin Harding
  3. pp. 191-192
  4. DOI: 10.1353/tj.2003.0023
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  1. The Haunted Stage: The Theatre as Memory Machine (review)
  2. Elin Diamond
  3. pp. 192-194
  4. DOI: 10.1353/tj.2003.0017
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  1. A History of Irish Theatre, 1601-2000 (review)
  2. Richard Jones
  3. pp. 194-195
  4. DOI: 10.1353/tj.2003.0026
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  1. Reflecting the Audience: London Theatregoing, 1840-1880 (review)
  2. Noreen Barnes-McLain
  3. pp. 195-196
  4. DOI: 10.1353/tj.2003.0003
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  1. Prurient Interests: Gender, Democracy, and Obscenity in New York City, 1909-1945 (review)
  2. Angela J. Latham
  3. pp. 196-197
  4. DOI: 10.1353/tj.2003.0029
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  1. A History of Russian Theatre (review)
  2. Maria Ignatieva
  3. pp. 197-199
  4. DOI: 10.1353/tj.2003.0024
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  1. Theatre, History, and National Identities (review)
  2. Beate Hein Bennett
  3. pp. 199-200
  4. DOI: 10.1353/tj.2003.0005
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  1. The Theatre Journal Auto Archive: Marvin Carlson
  2. Marvin A. Carlson
  3. pp. 207-211
  4. DOI: 10.1353/tj.2003.0010
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  1. Fiona shaw Performance at Project Muse Muse
  2. p. 215
  3. DOI: 10.1353/tj.2003.0189
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  1. Comment: Ancient Theatre
  2. David Román
  3. pp. vii-xi
  4. DOI: 10.1353/tj.2003.0038
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  1. Greek Theatre Performance: An Introduction (review)
  2. Carol Schafer
  3. pp. 177-178
  4. DOI: 10.1353/tj.2003.0042
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  1. Books Received
  2. pp. 200-206
  3. DOI: 10.1353/tj.2003.0007
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