1. Editorial Comment: This Discipline Which Is Not One
  2. Ric Knowles
  3. pp. 1-3
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  1. Bajazet '37: Jacques Copeau's Palais à Volonté at the Comédie-Française
  2. David G. Muller
  3. pp. 1-24
  4. DOI: 10.1353/tj.2012.0025
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  1. The Philosopher, the Playwright, and the Actor: Friedrich Nietzsche and the Modern Drama's Concept of Performance
  2. David Kornhaber
  3. pp. 25-40
  4. DOI: 10.1353/tj.2012.0002
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  1. Animating Immigration: Labor Movements, Cultural Policy, and Activist Theatre in 1970s France
  2. Emine Fisek
  3. pp. 41-57
  4. DOI: 10.1353/tj.2012.0007
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  1. Jews on View: Spectacle, Degradation, and Jewish Corporeality in Contemporary Dance and Performance
  2. Rebecca Rossen
  3. pp. 59-78
  4. DOI: 10.1353/tj.2012.0012
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  1. "The written troubles of the brain": Sleep No More and the Space of Character
  2. W. B. Worthen
  3. pp. 79-97
  4. DOI: 10.1353/tj.2012.0017
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  1. The Book of Mormon (review)
  2. Judith Sebesta
  3. pp. 99-101
  4. DOI: 10.1353/tj.2012.0021
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  1. London Road (review)
  2. Stuart Young
  3. pp. 101-102
  4. DOI: 10.1353/tj.2012.0026
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  1. Macbeth (review)
  2. Coen Heijes
  3. pp. 102-105
  4. DOI: 10.1353/tj.2012.0000
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  1. I Am the Wind (review)
  2. David G. Muller
  3. pp. 105-106
  4. DOI: 10.1353/tj.2012.0005
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  1. Our Lady of the Underpass (review)
  2. Kari-Anne Innes
  3. pp. 107-108
  4. DOI: 10.1353/tj.2012.0010
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  1. The People in the Picture (review)
  2. Dan Dinero
  3. pp. 108-110
  4. DOI: 10.1353/tj.2012.0015
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  1. Follies (review)
  2. Annmarie T. Saunders
  3. pp. 110-112
  4. DOI: 10.1353/tj.2012.0019
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  1. Swampoodle (review)
  2. Jeffrey Scott
  3. pp. 113-114
  4. DOI: 10.1353/tj.2012.0023
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  1. I've Never Been So Happy (review)
  2. Claire Canavan
  3. pp. 114-115
  4. DOI: 10.1353/tj.2012.0028
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  1. Prometheus Bound (review)
  2. Megan Stahl
  3. pp. 116-117
  4. DOI: 10.1353/tj.2012.0003
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  1. From the Cape of Good Hope: South African Drama and Performance in the Age of Globalization
  2. Loren Kruger
  3. pp. 119-127
  4. DOI: 10.1353/tj.2012.0008
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  1. Representing the Past: Essays in Performance Historiography (review)
  2. Melissa Dana Gibson
  3. pp. 129-130
  4. DOI: 10.1353/tj.2012.0013
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  1. Theater Historiography: Critical Interventions (review)
  2. Franklin J. Lasik
  3. pp. 130-132
  4. DOI: 10.1353/tj.2012.0018
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  1. Cratinus and the Art of Comedy (review)
  2. Anna Andes
  3. pp. 132-133
  4. DOI: 10.1353/tj.2012.0022
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  1. Murder Most Foul: Hamlet Through the Ages (review)
  2. Curtis Perry
  3. pp. 133-134
  4. DOI: 10.1353/tj.2012.0027
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  1. Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science (review)
  2. Michael Boynton
  3. pp. 134-136
  4. DOI: 10.1353/tj.2012.0001
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  1. Apollo's Angels: A History of Ballet (review)
  2. Olivia Sabee
  3. pp. 136-137
  4. DOI: 10.1353/tj.2012.0006
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  1. Walter Benjamin and Bertolt Brecht: The Story of a Friendship (review)
  2. Michael Shane Boyle
  3. pp. 137-138
  4. DOI: 10.1353/tj.2012.0011
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  1. Rediscovering Mordecai Gorelik: Scene Design and the American Theatre (review)
  2. Mark Fearnow
  3. pp. 138-139
  4. DOI: 10.1353/tj.2012.0016
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  1. The Politics of Jean Genet's Late Theatre: Spaces Of Revolution (review)
  2. Gene A. Plunka
  3. pp. 139-141
  4. DOI: 10.1353/tj.2012.0020
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  1. I'm Black When I'm Singing, I'm Blue When I Ain't and other Plays (review)
  2. Kristin Moriah
  3. pp. 141-142
  4. DOI: 10.1353/tj.2012.0024
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  1. Albee in Performance (review)
  2. Billy Middleton
  3. pp. 142-143
  4. DOI: 10.1353/tj.2012.0029
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  1. Moving Targets: Political Theatre in a Post-Political Age (review)
  2. Adam W. Nixon
  3. pp. 144-145
  4. DOI: 10.1353/tj.2012.0004
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  1. Political Performances: Theory and Practice (review)
  2. Susanne Shawyer
  3. pp. 145-146
  4. DOI: 10.1353/tj.2012.0009
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  1. Books Received
  2. pp. 147-156
  3. DOI: 10.1353/tj.2012.0014
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