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Table of Contents

  1. Note
  3. p. v
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  1. The Chronotopic Dynamics of Ibsen’s Pillars of Society: The Triumph of Industrialism, or How Drama Becomes History
  2. Erinç Özdemir
  3. pp. 143-164
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  1. Ventriloquist Theatre and the Omniscient Narrator: Gatz and El pasado es un animal grotesco
  2. Barbara Fuchs
  3. pp. 165-186
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  1. Parody, E.E. Cummings, and Uncle Tom’s Cabin
  2. James M. Cherry
  3. pp. 187-206
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  1. “A Little History Here, a Little Hollywood There”: (Counter-) Identifying with the Spanish Fantasy in Carlos Morton’s Rancho Hollywood and Theresa Chavez’s L.A. Real
  2. Courtney Elkin Mohler
  3. pp. 207-228
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  1. “Remove Your Mask”: Character Psychology in Introspective Musical Theatre – Sondheim’s Follies, LaChiusa’s The Wild Party, and Stew’s Passing Strange
  2. Alisa Roost
  3. pp. 229-251
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  1. Rethinking Sarah Kane’s Characters: A Human(ist) Form and Politics
  2. Louise Lepage
  3. pp. 252-272
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  1. The Politics and Poetics of Contemporary English Tragedy by Sean Carney (review)
  2. Lily Cui
  3. pp. 273-275
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  1. Women’s Voices on American Stages in the Early Twenty-First Century: Sarah Ruhl and Her Contemporaries by Leslie Atkins Durham (review)
  2. Miriam Chirico
  3. pp. 275-278
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  1. Performing Hybridity in Colonial-Modern China by Siyuan Liu (review)
  2. Jen-Hao Hsu
  3. pp. 278-280
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  1. Theatre of the Real by Carol Martin (review)
  2. Liz Tomlin
  3. pp. 280-282
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  1. Ludics in Surrealist Theatre and Beyond by Vassiliki Rapti (review)
  2. Johanna Malt
  3. pp. 282-284
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  1. Acts and Apparitions: Discourses on the Real in Performance Practice and Theory, 1990-2010 by Liz Tomlin (review)
  2. Miriam Felton-Dansky
  3. pp. 284-287
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  1. Acts of Gaiety: LGBT Performance and the Politics of Pleasure by Sara Warner (review)
  2. Jessica Del Vecchio
  3. pp. 287-289
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  1. Performance in the Blockades of Neoliberalism: Thinking the Political Anew by Maurya Wickstrom (review)
  2. Jason Fitzgerald
  3. pp. 289-292
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