1. Religious Experience as a Model for Emotional Experience in Theatre
  2. David V. Mason
  3. pp. 7-22
  4. DOI: 10.1353/dtc.2008.0004
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  1. Marina Abramović and the Re-performance of Authenticity
  2. Jessica Chalmers
  3. pp. 23-40
  4. DOI: 10.1353/dtc.2008.0006
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  1. Clytemnestra’s Net: Aeschylus’ Oresteia and the Text of Tapestries
  2. Megan Shea
  3. pp. 41-58
  4. DOI: 10.1353/dtc.2008.0008
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  1. Sense and Sensation: Exploring the Interplay between the Semiotic and Performative Dimensions of Theatre
  2. Erika Fischer-Lichte
  3. pp. 69-81
  4. DOI: 10.1353/dtc.2008.0001
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  1. A Candle of Darkness: Multiplied Deixis in Roberto Ciulli’s King Lear
  2. Jerzy Limon
  3. pp. 83-102
  4. DOI: 10.1353/dtc.2008.0002
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  1. How Do You Read a Sign that No One Has Ever Seen Before?: A Post-Semiotic Analysis of Chance-Driven Events
  2. Dean Wilcox
  3. pp. 103-117
  4. DOI: 10.1353/dtc.2008.0003
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  1. Mixed Media and Mixed Messages: Big Art Group’s Exploration of the Sign
  2. Marvin Carlson
  3. pp. 119-131
  4. DOI: 10.1353/dtc.2008.0005
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  1. Diagrams, Formalism, and Structural Homology in Beckett’s Come and Go
  2. Irit Degani-Raz
  3. pp. 133-146
  4. DOI: 10.1353/dtc.2008.0007
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  1. Introduction: Semiotic Analysis of Avant-Garde Performance
  2. Yana Meerzon, Eli Rozik
  3. pp. 61-67
  4. DOI: 10.1353/dtc.2008.0000
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