1. ’Tis Pity She’s a Realist: A Conversational Case Study in Realism and Early Modern Theater Today
  2. Roberta Barker, Kim Solga, Cary Mazer
  3. pp. 571-597
  4. DOI: 10.1353/shb.2013.0064
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  1. “The eternal glory of Mr W., the United States, and the Method”: Sam Wanamaker, Stanislavskian
  2. Paul Prescott
  3. pp. 599-621
  4. DOI: 10.1353/shb.2013.0072
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  1. Theatrical Realism as Feminist Intervention: Katie Mitchell’s 2011 Staging of A Woman Killed with Kindness
  2. Rosemary Malague
  3. pp. 623-645
  4. DOI: 10.1353/shb.2013.0073
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  1. “Is’t real that I see?”: Staged Realism and the Paradox of Shakespeare’s Audience
  2. Brett Gamboa
  3. pp. 669-688
  4. DOI: 10.1353/shb.2013.0071
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  1. Putting it on the Floor: Naturalism and the Verfremdungseffekt in The Tempest and The Witch of Edmonton
  2. Bridget Escolme
  3. pp. 689-707
  4. DOI: 10.1353/shb.2013.0069
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  1. Beyond Realism: Into the Studio
  2. Tom Cornford
  3. pp. 709-718
  4. DOI: 10.1353/shb.2013.0074
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  1. Othello performed at Public Theater (review)
  2. Matthew Kozusko
  3. pp. 722-727
  4. DOI: 10.1353/shb.2013.0063
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  1. Roman Tragedies performed by Toneelgroep Amsterdam (review)
  2. D.J. Hopkins
  3. pp. 727-733
  4. DOI: 10.1353/shb.2013.0065
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  1. The Merchant of Venice performed by Royal Shakespeare Company (review)
  2. Jami Rogers
  3. pp. 733-737
  4. DOI: 10.1353/shb.2013.0067
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  1. Hamlet performed at Schaubühne am Lehniner Platz (review)
  2. Benjamin Fowler
  3. pp. 737-745
  4. DOI: 10.1353/shb.2013.0070
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  1. Troilus and Cressida performed by Wooster Group (review)
  2. Susanne Greenhalgh
  3. pp. 749-754
  4. DOI: 10.1353/shb.2013.0062
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  1. Guest Editor’s Introduction
  2. Cary M. Mazer
  3. pp. 719-722
  4. DOI: 10.1353/shb.2013.0076
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