1. Berlin’s “First Responder” Artists, 1945–1946: Theatre and Politics from the Rubble
  2. Rebecca Rovit
  3. pp. 7-38
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  1. “Would You Die for the Fatherland?”: Disciplining the German Commemorative Body
  2. Scott Venters
  3. pp. 39-71
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  1. Shocking the System: The Arts Council, the British Council, and the Paradox of Cherub Theatre Company
  2. Brian E. G. Cook
  3. pp. 73-94
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  1. The Long View of World Theatre History
  2. Steve Tillis
  3. pp. 95-121
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  1. Poisoning the Mother/Land: An Ecofeminist Dramaturgy in José Rivera’s Marisol and Cherríe Moraga’s Heroes and Saints
  2. Arden Elizabeth Thomas
  3. pp. 143-160
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  1. Making a Spectacle: Motherhood in Contemporary British Theatre and Performance
  2. Jozefina Komporaly
  3. pp. 161-178
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  1. Un/Natural Motherhood in Marina Carr’s The Mai, Portia Couglan, and By the Bog of Cats . . .
  2. Karin Maresh
  3. pp. 179-196
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  1. Flying Babies and Pregnant Men: Staging Motherhood in Marina Carr’s Low in the Dark
  2. Jennifer Douglas
  3. pp. 197-218
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  1. Mothers, Daughters, Identity, and Impossibilities
  2. Rhona Justice-Malloy
  3. pp. 219-232
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  1. “She Was Always Sad”: Remembering Mother in Caryl Churchill’s Not Enough Oxygen and A Number
  2. Margaret Savilonis
  3. pp. 233-253
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  1. “Who Let in One of Them Mothers?”: Maternal Perversity on the American Musical Stage
  2. Jennifer Worth
  3. pp. 255-267
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  1. Decolonizing Motherhood: Images of Mothering in First Nations Theatre
  2. Ann Haugo
  3. pp. 269-284
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  1. The Robert A. Schanke Award-Winning Essay Whispers from a Silent Past: Inspiration and Memory in Natasha Trethewey’s Native Guard
  2. Chandra Owenby Hopkins
  3. pp. 287-300
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  1. Keynote Address Delivered at the Mid-America Theatre Conference En Ser Inspirado | On Being Inspired
  2. Irma Mayorga
  3. pp. 301-320
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  1. Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age by John Fletcher (review)
  2. Jay Ball
  3. pp. 323-325
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  1. Making Make-Believe Real: Politics as Theater in Shakespeare’s Time by Garry Wills (review)
  2. Alex Cahill
  3. pp. 328-331
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  1. Violence Against Women in Early Modern Performance: Invisible Acts by Kim Solga (review)
  2. Rachel Price Cooper
  3. pp. 331-333
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  1. Theatre/Performance Historiography: Time, Space, Matter ed. by Rosemarie K. Bank and Michal Kobialka (review)
  2. Danny Devlin
  3. pp. 333-336
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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. Jennifer Goff
  3. pp. 341-343
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  1. Bigger, Brighter, Louder: 150 Years of Chicago Theater As Seen by “Chicago Tribune” Critics by Chris Jones (review)
  2. Stuart J. Hecht
  3. pp. 343-345
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  1. Embodied Consciousness: Performance Technologies ed. by Jade Rosina McCutcheon and Barbara Sellers-Young (review)
  2. Scott C. Knowles
  3. pp. 346-348
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  1. Audience Participation in Theatre: Aesthetics of the Invitation by Gareth White (review)
  2. Patrick M. Konesko
  3. pp. 348-350
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  1. Celebration, Entertainment, and Theatre in the Ottoman World ed. by Suraiya Faroqhi and Arzu Ozturkmen (review)
  2. Duygu Erdogan Monson
  3. pp. 354-356
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  1. Paratexts in English Printed Drama to 1642 ed. by Thomas L. Berger and Sonia Massai (review)
  2. Patrick J. Murray
  3. pp. 357-359
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  1. Tennessee Williams: A Literary Life by John S. Bak (review)
  2. Wes D. Pearce
  3. pp. 359-362
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  1. International Women Stage Directors ed. by Anne Fliotsos and Wendy Vierow (review)
  2. Emily A. Rollie
  3. pp. 366-369
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  1. Theatre & Violence by Lucy Nevitt (review)
  2. Michelle Salerno
  3. pp. 369-371
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  1. Shakespeare’s Medieval Craft: Remnants of the Mysteries on the London Stage by Kurt A. Schreyer (review)
  2. Claire Syler
  3. pp. 371-374
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  1. Illustrations
  2. p. ix
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  1. Introduction
  2. Sara Freeman
  3. pp. 1-3
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  1. Introduction to Part II
  2. Karen Bamford, Sheila Rabillard
  3. pp. 125-142
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  1. Books Received
  2. pp. 375-376
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  1. Contributors
  2. pp. 377-381
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