1. Abject Afrikaner, Iconoclast Trekker: Peter Van Heerden’s Performance Interventions within the Laagers of White Masculinity
  2. Megan Lewis
  3. pp. 7-30
  4. DOI: 10.1353/dtc.2012.0009
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  1. “A” is for Abject: The Red Letter Plays of Suzan-Lori Parks
  2. Cheryl Black
  3. pp. 31-56
  4. DOI: 10.1353/dtc.2012.0013
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  1. The End of Room-Space: Domesticity and the Absent Audience in Wallace Shawn’s The Fever
  2. Jeanmarie Higgins
  3. pp. 57-73
  4. DOI: 10.1353/dtc.2012.0017
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  1. The Market for Argument: Preaching the Puritan Counterpublic at Paul’s Cross
  2. Simon du Toit
  3. pp. 75-96
  4. DOI: 10.1353/dtc.2012.0021
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  1. Special Section: “Affect/Performance/Politics”
  2. Erin Hurley, Sara Warner
  3. pp. 99-107
  4. DOI: 10.1353/dtc.2012.0000
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  1. Behaviorism, Catharsis, and the History of Emotion
  2. R. Darren Gobert
  3. pp. 109-125
  4. DOI: 10.1353/dtc.2012.0004
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  1. Feeling Scottish: Affect, Mimicry, and Vaudeville’s “Inimitable” Harry Lauder
  2. Marlis Schweitzer, Daniel Guadagnolo
  3. pp. 145-160
  4. DOI: 10.1353/dtc.2012.0011
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  1. “Structures of Feeling” as Methodology and the Re-emergence of Holocaust Survivor Testimony in 1960s Czechoslovakia
  2. Lisa Peschel
  3. pp. 161-172
  4. DOI: 10.1353/dtc.2012.0015
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  1. Performance and the Pace of Empathy
  2. John H. Muse
  3. pp. 173-188
  4. DOI: 10.1353/dtc.2012.0019
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  1. Affect in Deleuze, Hijikata, and Coates: The Politics of Becoming-Animal in Performance
  2. Laura Cull
  3. pp. 189-203
  4. DOI: 10.1353/dtc.2012.0023
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  1. Feeling Women’s Culture: Women’s Music, Lesbian Feminism, and the Impact of Emotional Memory
  2. Jill Dolan
  3. pp. 205-219
  4. DOI: 10.1353/dtc.2012.0002
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  1. Performing Remains: Art and War in Times of Theatrical Reenactment (review)
  2. Sara Brady
  3. pp. 223-225
  4. DOI: 10.1353/dtc.2012.0006
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  1. Theatre of Crisis: The Performance of Power in the Kingdom of Ireland, 1662–1692 (review)
  2. Penelope Walrath Cole
  3. pp. 225-227
  4. DOI: 10.1353/dtc.2012.0010
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  1. British Asian Theatre: Dramaturgy, Process and Performance (review)
  2. Sara Freeman
  3. pp. 227-229
  4. DOI: 10.1353/dtc.2012.0014
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  1. Shakesqueer: A Queer Companion to the Complete Works of Shakespeare (review)
  2. Helen Deborah Lewis
  3. pp. 229-231
  4. DOI: 10.1353/dtc.2012.0018
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  1. The Provocation of the Senses in Contemporary Theatre (review)
  2. Deirdre O’Leary
  3. pp. 232-234
  4. DOI: 10.1353/dtc.2012.0022
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  1. So Much Wasted: Hunger, Performance, and the Morbidity of Resistance (review)
  2. Jennifer Parker-Starbuck
  3. pp. 234-236
  4. DOI: 10.1353/dtc.2012.0001
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  1. Modernism after Wagner (review)
  2. Felicia J. Ruff
  3. pp. 237-239
  4. DOI: 10.1353/dtc.2012.0005
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  1. French Origins of English Tragedy (review)
  2. Robert B. Shimko
  3. pp. 239-241
  4. DOI: 10.1353/dtc.2012.0008
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  1. Philosophers & Thespians: Thinking Performance (review)
  2. Tyler A. Smith
  3. pp. 241-243
  4. DOI: 10.1353/dtc.2012.0012
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  1. Representing the Past: Essays in Performance Historiography (review)
  2. James Symons
  3. pp. 244-246
  4. DOI: 10.1353/dtc.2012.0016
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  1. Performance Theatre and the Poetics of Failure: Forced Entertainment, Goat Island, Elevator Repair Service (review)
  2. Dan Venning
  3. pp. 246-248
  4. DOI: 10.1353/dtc.2012.0020
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  1. Social Works: Performing Art, Supporting Publics (review)
  2. Christine Woodworth
  3. pp. 248-250
  4. DOI: 10.1353/dtc.2012.0024
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  1. Books Received
  2. pp. 251-255
  3. DOI: 10.1353/dtc.2012.0003
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