In this Issue

Table of Contents

Berlin’s “First Responder” Artists, 1945–1946: Theatre and Politics from the Rubble

Rebecca Rovit
pp. 7-38
DOI: https://doi.org/10.1353/ths.2016.0003
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“Would You Die for the Fatherland?”: Disciplining the German Commemorative Body

Scott Venters
pp. 39-71
DOI: https://doi.org/10.1353/ths.2016.0000
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Shocking the System: The Arts Council, the British Council, and the Paradox of Cherub Theatre Company

Brian E. G. Cook
pp. 73-94
DOI: https://doi.org/10.1353/ths.2016.0004
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The Long View of World Theatre History

Steve Tillis
pp. 95-121
DOI: https://doi.org/10.1353/ths.2016.0005
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Poisoning the Mother/Land: An Ecofeminist Dramaturgy in José Rivera’s Marisol and Cherríe Moraga’s Heroes and Saints

Arden Elizabeth Thomas
pp. 143-160
DOI: https://doi.org/10.1353/ths.2016.0007
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Making a Spectacle: Motherhood in Contemporary British Theatre and Performance

Jozefina Komporaly
pp. 161-178
DOI: https://doi.org/10.1353/ths.2016.0008
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Un/Natural Motherhood in Marina Carr’s The Mai, Portia Couglan, and By the Bog of Cats . . .

Karin Maresh
pp. 179-196
DOI: https://doi.org/10.1353/ths.2016.0009
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Flying Babies and Pregnant Men: Staging Motherhood in Marina Carr’s Low in the Dark

Jennifer Douglas
pp. 197-218
DOI: https://doi.org/10.1353/ths.2016.0010
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Mothers, Daughters, Identity, and Impossibilities

Rhona Justice-Malloy
pp. 219-232
DOI: https://doi.org/10.1353/ths.2016.0011
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“She Was Always Sad”: Remembering Mother in Caryl Churchill’s Not Enough Oxygen and A Number

Margaret Savilonis
pp. 233-253
DOI: https://doi.org/10.1353/ths.2016.0012
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“Who Let in One of Them Mothers?”: Maternal Perversity on the American Musical Stage

Jennifer Worth
pp. 255-267
DOI: https://doi.org/10.1353/ths.2016.0013
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Decolonizing Motherhood: Images of Mothering in First Nations Theatre

Ann Haugo
pp. 269-284
DOI: https://doi.org/10.1353/ths.2016.0014
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The Robert A. Schanke Award-Winning Essay Whispers from a Silent Past: Inspiration and Memory in Natasha Trethewey’s Native Guard

Chandra Owenby Hopkins
pp. 287-300
DOI: https://doi.org/10.1353/ths.2016.0015
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Keynote Address Delivered at the Mid-America Theatre Conference En Ser Inspirado | On Being Inspired

Irma Mayorga
pp. 301-320
DOI: https://doi.org/10.1353/ths.2016.0016
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Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age by John Fletcher (review)

Jay Ball
pp. 323-325
DOI: https://doi.org/10.1353/ths.2016.0017
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Imagining Human Rights in Twenty-First-Century Theater: Global Perspectives ed. by Florian N. Becker, Paola S. Hernández, and Brenda Werth (review)

Amanda Boyle
pp. 325-328
DOI: https://doi.org/10.1353/ths.2016.0018
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Making Make-Believe Real: Politics as Theater in Shakespeare’s Time by Garry Wills (review)

Alex Cahill
pp. 328-331
DOI: https://doi.org/10.1353/ths.2016.0019
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Violence Against Women in Early Modern Performance: Invisible Acts by Kim Solga (review)

Rachel Price Cooper
pp. 331-333
DOI: https://doi.org/10.1353/ths.2016.0020
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Theatre/Performance Historiography: Time, Space, Matter ed. by Rosemarie K. Bank and Michal Kobialka (review)

Danny Devlin
pp. 333-336
DOI: https://doi.org/10.1353/ths.2016.0021
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A History of Collective Creation and Collective Creation in Contemporary Performance ed. by Kathryn Mederos Syssoyeva and Scott Proudfit (review)

Sara Freeman
pp. 336-340
DOI: https://doi.org/10.1353/ths.2016.0022
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Women’s Voices on American Stages in the Early Twenty-First Century: Sarah Ruhl and Her Contemporaries by Leslie Atkins Durham (review)

Jennifer Goff
pp. 341-343
DOI: https://doi.org/10.1353/ths.2016.0023
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Bigger, Brighter, Louder: 150 Years of Chicago Theater As Seen by “Chicago Tribune” Critics by Chris Jones (review)

Stuart J. Hecht
pp. 343-345
DOI: https://doi.org/10.1353/ths.2016.0024
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Embodied Consciousness: Performance Technologies ed. by Jade Rosina McCutcheon and Barbara Sellers-Young (review)

Scott C. Knowles
pp. 346-348
DOI: https://doi.org/10.1353/ths.2016.0025
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Audience Participation in Theatre: Aesthetics of the Invitation by Gareth White (review)

Patrick M. Konesko
pp. 348-350
DOI: https://doi.org/10.1353/ths.2016.0026
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Eugene O’Neill: A Life in Four Acts by Robert M. Dowling, and: Eugene O’Neill: The Contemporary Reviews ed. by Jackson R. Bryer and Robert M. Dowling (review)

Felicia Hardison Londré
pp. 351-353
DOI: https://doi.org/10.1353/ths.2016.0027
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Celebration, Entertainment, and Theatre in the Ottoman World ed. by Suraiya Faroqhi and Arzu Ozturkmen (review)

Duygu Erdogan Monson
pp. 354-356
DOI: https://doi.org/10.1353/ths.2016.0028
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Paratexts in English Printed Drama to 1642 ed. by Thomas L. Berger and Sonia Massai (review)

Patrick J. Murray
pp. 357-359
DOI: https://doi.org/10.1353/ths.2016.0029
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Tennessee Williams: A Literary Life by John S. Bak (review)

Wes D. Pearce
pp. 359-362
DOI: https://doi.org/10.1353/ths.2016.0030
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Ira Aldridge: The Early Years, 1807–1833 by Bernth Lindfors, and: Ira Aldridge: The Vagabond Years, 1833–1852 by Bernth Lindfors, and: Ira Aldridge: Performing Shakespeare in Europe, 1852–1855 by Bernth Lindfors (review)

Kate Roark
pp. 362-366
DOI: https://doi.org/10.1353/ths.2016.0031
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International Women Stage Directors ed. by Anne Fliotsos and Wendy Vierow (review)

Emily A. Rollie
pp. 366-369
DOI: https://doi.org/10.1353/ths.2016.0032
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Theatre & Violence by Lucy Nevitt (review)

Michelle Salerno
pp. 369-371
DOI: https://doi.org/10.1353/ths.2016.0033
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Shakespeare’s Medieval Craft: Remnants of the Mysteries on the London Stage by Kurt A. Schreyer (review)

Claire Syler
pp. 371-374
DOI: https://doi.org/10.1353/ths.2016.0034
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Illustrations

p. ix
DOI: https://doi.org/10.1353/ths.2016.0002
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Introduction

Sara Freeman
pp. 1-3
DOI: https://doi.org/10.1353/ths.2016.0001
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Introduction to Part II

Karen Bamford, Sheila Rabillard
pp. 125-142
DOI: https://doi.org/10.1353/ths.2016.0006
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Books Received

pp. 375-376
DOI: https://doi.org/10.1353/ths.2016.0035
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Contributors

pp. 377-381
DOI: https://doi.org/10.1353/ths.2016.0036
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