restricted access   Volume 35, 2016

Table of Contents

Illustrations

p. ix
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Introduction

pp. 1-3
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Part I
Studies in Theatre History

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

pp. 7-38
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“Would You Die for the Fatherland?”: Disciplining the German Commemorative Body

pp. 39-71
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Shocking the System: The Arts Council, the British Council, and the Paradox of Cherub Theatre Company

pp. 73-94
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The Long View of World Theatre History

pp. 95-121
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Part II
Special Section: Rethinking the Maternal

Introduction to Part II

pp. 125-142
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Poisoning the Mother/Land: An Ecofeminist Dramaturgy in José Rivera’s Marisol and Cherríe Moraga’s Heroes and Saints

pp. 143-160
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Making a Spectacle: Motherhood in Contemporary British Theatre and Performance

pp. 161-178
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Un/Natural Motherhood in Marina Carr’s The Mai, Portia Couglan, and By the Bog of Cats . . .

pp. 179-196
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Flying Babies and Pregnant Men: Staging Motherhood in Marina Carr’s Low in the Dark

pp. 197-218
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Mothers, Daughters, Identity, and Impossibilities

pp. 219-232
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“She Was Always Sad”: Remembering Mother in Caryl Churchill’s Not Enough Oxygen and A Number

pp. 233-253
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“Who Let in One of Them Mothers?”: Maternal Perversity on the American Musical Stage

pp. 255-267
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Decolonizing Motherhood: Images of Mothering in First Nations Theatre

pp. 269-284
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Part III
Essays from the Conference

The Robert A. Schanke Award-Winning Essay Whispers from a Silent Past: Inspiration and Memory in Natasha Trethewey’s Native Guard

pp. 287-300
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Keynote Address Delivered at the Mid-America Theatre Conference En Ser Inspirado | On Being Inspired

pp. 301-320
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Part IV
Book Reviews

Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age by John Fletcher (review)

pp. 323-325
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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)

pp. 325-328
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Making Make-Believe Real: Politics as Theater in Shakespeare’s Time by Garry Wills (review)

pp. 328-331
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Violence Against Women in Early Modern Performance: Invisible Acts by Kim Solga (review)

pp. 331-333
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Theatre/Performance Historiography: Time, Space, Matter ed. by Rosemarie K. Bank and Michal Kobialka (review)

pp. 333-336
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A History of Collective Creation and Collective Creation in Contemporary Performance ed. by Kathryn Mederos Syssoyeva and Scott Proudfit (review)

pp. 336-340
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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)

pp. 341-343
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Bigger, Brighter, Louder: 150 Years of Chicago Theater As Seen by “Chicago Tribune” Critics by Chris Jones (review)

pp. 343-345
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Embodied Consciousness: Performance Technologies ed. by Jade Rosina McCutcheon and Barbara Sellers-Young (review)

pp. 346-348
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Audience Participation in Theatre: Aesthetics of the Invitation by Gareth White (review)

pp. 348-350
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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)

pp. 351-353
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Celebration, Entertainment, and Theatre in the Ottoman World ed. by Suraiya Faroqhi and Arzu Ozturkmen (review)

pp. 354-356
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Paratexts in English Printed Drama to 1642 ed. by Thomas L. Berger and Sonia Massai (review)

pp. 357-359
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Tennessee Williams: A Literary Life by John S. Bak (review)

pp. 359-362
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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)

pp. 362-366
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International Women Stage Directors ed. by Anne Fliotsos and Wendy Vierow (review)

pp. 366-369
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Theatre & Violence by Lucy Nevitt (review)

pp. 369-371
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Shakespeare’s Medieval Craft: Remnants of the Mysteries on the London Stage by Kurt A. Schreyer (review)

pp. 371-374
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Books Received

pp. 375-376
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Contributors

pp. 377-381
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