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Table of Contents

  1. Editorial Comment: Theatre and Material Culture
  2. Ric Knowles
  3. pp. 1-3
  4. DOI: https://doi.org/10.1353/tj.2012.0066
  5. restricted access
  1. Editorial Comment: Theatre and Material Culture
  2. Ric Knowles
  3. pp. 1-3
  4. restricted access
  1. Spectral Readings
  2. Andrew Sofer
  3. pp. 323-336
  4. DOI: https://doi.org/10.1353/tj.2012.0072
  5. restricted access
  1. Objects of Realism: Bertolt Brecht, Roland Barthes, and Marsha Norman
  2. Varun Begley
  3. pp. 337-353
  4. DOI: https://doi.org/10.1353/tj.2012.0077
  5. restricted access
  1. Human Remains: Acting, Objects, and Belief in Performance
  2. Aoife Monks
  3. pp. 355-371
  4. DOI: https://doi.org/10.1353/tj.2012.0082
  5. restricted access
  1. Material Remains at Play
  2. Barbara Hodgdon
  3. pp. 373-388
  4. DOI: https://doi.org/10.1353/tj.2012.0087
  5. restricted access
  1. On the Work of Things: Musical Production, Theatrical Labor, and the “General Intellect”
  2. Nicholas Ridout
  3. pp. 389-408
  4. DOI: https://doi.org/10.1353/tj.2012.0092
  5. restricted access
  1. The Complete & Condensed Stage Directions of Eugene O’neill, Volume 1: Early Plays/Lost Plays, and: Early Plays (review)
  2. Bess Rowen
  3. pp. 409-412
  4. DOI: https://doi.org/10.1353/tj.2012.0064
  5. restricted access
  1. BLU (review)
  2. Irma Mayorga
  3. pp. 412-414
  4. DOI: https://doi.org/10.1353/tj.2012.0070
  5. restricted access
  1. Somewhere (review)
  2. David Román
  3. pp. 414-417
  4. DOI: https://doi.org/10.1353/tj.2012.0075
  5. restricted access
  1. Lady in the Dark, and: The Sound of Music (review)
  2. Laura MacDonald
  3. pp. 417-422
  4. DOI: https://doi.org/10.1353/tj.2012.0080
  5. restricted access
  1. Show Boat (review)
  2. Mark E. Lococo
  3. pp. 422-424
  4. DOI: https://doi.org/10.1353/tj.2012.0085
  5. restricted access
  1. Ulster Bank Belfast Festival at Queens (review)
  2. Eleanor Owicki
  3. pp. 424-427
  4. DOI: https://doi.org/10.1353/tj.2012.0090
  5. restricted access
  1. Juno and the Paycock, and: The Veil (review)
  2. Andrea Grunert
  3. pp. 427-430
  4. DOI: https://doi.org/10.1353/tj.2012.0062
  5. restricted access
  1. John Gabriel Borkman (review)
  2. Andrew Friedman
  3. pp. 430-433
  4. DOI: https://doi.org/10.1353/tj.2012.0068
  5. restricted access
  1. El Pasado Es Un Animal Grotesco (The Past is a Grotesque Animal) (review)
  2. Johnathon D. Boyd
  3. pp. 433-435
  4. DOI: https://doi.org/10.1353/tj.2012.0073
  5. restricted access
  1. The Select (The Sun Also Rises) (review)
  2. Dan Venning
  3. pp. 435-437
  4. DOI: https://doi.org/10.1353/tj.2012.0078
  5. restricted access
  1. The Rehearsal, Playing the Dane (review)
  2. Melissa Lee
  3. pp. 437-439
  4. DOI: https://doi.org/10.1353/tj.2012.0083
  5. restricted access
  1. Milk Like Sugar (review)
  2. Aimee Zygmonski
  3. pp. 439-441
  4. DOI: https://doi.org/10.1353/tj.2012.0088
  5. restricted access
  1. Stick Fly (review)
  2. Stacie Selmon McCormick
  3. pp. 441-444
  4. DOI: https://doi.org/10.1353/tj.2012.0093
  5. restricted access
  1. Sound Studies: Theories of the Material Voice
  2. Patrick Finelli
  3. pp. 445-458
  4. DOI: https://doi.org/10.1353/tj.2012.0065
  5. restricted access
  1. Theatre and Citizenship: The History of a Practice (review)
  2. Robert Davis
  3. pp. 459-460
  4. DOI: https://doi.org/10.1353/tj.2012.0071
  5. restricted access
  1. Performing Conquest: Five Centuries of Theater, History, and Identity in Tlaxcala, Mexico (review)
  2. Victoria P. Lantz
  3. pp. 460-462
  4. DOI: https://doi.org/10.1353/tj.2012.0076
  5. restricted access
  1. Theatre, Facilitation and Nation Formation in the Balkans and Middle East (review)
  2. Julia Goldstein
  3. pp. 462-463
  4. DOI: https://doi.org/10.1353/tj.2012.0081
  5. restricted access
  1. Engaging Performance: Theatre as Call and Response Call and Response (review)
  2. Catherine Ming T’ien Duffly
  3. pp. 463-465
  4. DOI: https://doi.org/10.1353/tj.2012.0086
  5. restricted access
  1. The President Electric: Ronald Reagan and the Politics of Performance (review)
  2. Kevin Brown
  3. pp. 465-466
  4. DOI: https://doi.org/10.1353/tj.2012.0091
  5. restricted access
  1. The Frightful Stage: Political Censorship of the Theater in Nineteenth-Century Europe (review)
  2. Tyler Smith
  3. pp. 466-467
  4. DOI: https://doi.org/10.1353/tj.2012.0063
  5. restricted access
  1. Shakespeare’s Imaginary Constitution: Late Elizabethan Politics and the Theatre of Law (review)
  2. Jessica Winston
  3. pp. 467-469
  4. DOI: https://doi.org/10.1353/tj.2012.0069
  5. restricted access
  1. Shakespeare and the Grammar of Forgiveness (review)
  2. Claire Sponsler
  3. pp. 469-470
  4. DOI: https://doi.org/10.1353/tj.2012.0074
  5. restricted access
  1. Adapting King Lear for the Stage (review)
  2. Zackary Ross
  3. pp. 470-471
  4. DOI: https://doi.org/10.1353/tj.2012.0079
  5. restricted access
  1. Modernism in Kyiv: Jubilant Experimentation (review)
  2. Robert Crane
  3. pp. 471-473
  4. DOI: https://doi.org/10.1353/tj.2012.0084
  5. restricted access
  1. Mabou Mines: Making Avant-Garde Theater in the 1970s (review)
  2. Matthew McMahan
  3. pp. 473-474
  4. DOI: https://doi.org/10.1353/tj.2012.0089
  5. restricted access
  1. The Theatre Practice of Tadashi Suzuki: A Critical Study with DVD Examples (review)
  2. David Marcia
  3. pp. 474-475
  4. DOI: https://doi.org/10.1353/tj.2012.0094
  5. restricted access
  1. Books Received
  3. pp. 476-486
  4. DOI: https://doi.org/10.1353/tj.2012.0067
  5. restricted access