1. Shakespeare and Performance Studies: A Dialogue
  2. Susan Bennett, Gina Bloom
  3. pp. 367-372
  4. DOI: 10.1353/shb.2017.0029
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  1. The Talbot Remains: Historical Drama and the Performative Archive
  2. Alice Dailey
  3. pp. 373-387
  4. DOI: 10.1353/shb.2017.0030
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  1. Together, Apart: Liveness, Eventness, and Streaming Shakespearean Performance
  2. Geoffrey Way
  3. pp. 389-406
  4. DOI: 10.1353/shb.2017.0031
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  1. Interactive, Immersive, Original Shakespeare
  2. W. B. Worthen
  3. pp. 407-424
  4. DOI: 10.1353/shb.2017.0032
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  1. Practice-as-Research and Original Practices
  2. Stephen Purcell
  3. pp. 425-443
  4. DOI: 10.1353/shb.2017.0033
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  1. Shakespeare as Community Practice
  2. Katherine Steele Brokaw
  3. pp. 445-461
  4. DOI: 10.1353/shb.2017.0034
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  1. 2016 Oregon Shakespeare Festival
  2. Michael W. Shurgot
  3. pp. 463-477
  4. DOI: 10.1353/shb.2017.0035
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  1. The Tempest presented by The Lord Denney's Players, and: The Tempest presented by The Cincinnati Shakespeare Company (review)
  2. Niamh J. O'Leary
  3. pp. 487-495
  4. DOI: 10.1353/shb.2017.0038
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  1. 'Tis Pity She's a Whore presented by Brave Spirits Theatre, and: A King and No King presented by Brave Spirits Theatre (review)
  2. Lauren Robertson
  3. pp. 495-502
  4. DOI: 10.1353/shb.2017.0039
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  1. As You Like It presented by the Folger Theatre (review)
  2. Noel Sloboda
  3. pp. 502-506
  4. DOI: 10.1353/shb.2017.0037
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  1. Othello presented at the Sam Wanamaker Playhouse (review)
  2. Peter J. Smith
  3. pp. 507-510
  4. DOI: 10.1353/shb.2017.0040
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  1. Indifference to Difference: On Queer Universalism by Madhavi Menon (review)
  2. Peter Kuling
  3. pp. 511-514
  4. DOI: 10.1353/shb.2017.0041
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  1. Early Modern Actors and Shakespeare's Theatre: Thinking with the Body by Evelyn Tribble (review)
  2. Harry R. McCarthy
  3. pp. 514-519
  4. DOI: 10.1353/shb.2017.0042
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