1. Richard III in the Era of Trump
  2. Dan Venning
  3. pp. 1-12
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  1. Hillbilly Tragedy: What's Not Playing in American Theatres in the 2017–18 Season
  2. Paul David Young
  3. pp. 13-24
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  1. Thinking/Drawing/Dancing
  2. Bonnie Marranca
  3. pp. 25-27
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  1. Stuff
  2. Annie-B Parson
  3. pp. 28-33
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  1. Drawing Clarification
  2. Walter Dundervill
  3. pp. 34-37
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  1. Self-Portraiture/Self-Prompt
  2. Gwen Welliver
  3. pp. 38-41
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  1. Drawing the Language of Dance
  2. Jan Rae
  3. pp. 42-45
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  1. What's My Line?
  2. Cathy Weis
  3. pp. 46-49
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  1. Process Notation
  2. Okwui Okpokwasilli, Peter Born
  3. pp. 50-53
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  1. The Methodology for Choreographing Extreme Action
  2. Elizabeth Streb
  3. pp. 54-59
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  1. The Dancer and the Computer, Part Two
  2. Laurent Goldring
  3. pp. 60-65
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  1. Movement Engineer
  2. Jon Kinzel
  3. pp. 66-71
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  1. Atlas of the Gesture
  2. Virgilio Sieni
  3. pp. 72-77
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  1. Empty Duration and the Generosity of John Cage
  2. Kay Larson
  3. pp. 78-84
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  1. No Exit
  2. Thomas Peattie
  3. pp. 85-89
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  1. Scorched Earth
  2. Curtis Russell
  3. pp. 90-93
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  1. Black Political Breathwork
  2. Kristin Moriah
  3. pp. 94-97
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  1. The Occult Art of L'ordre de la Rose+Croix du Temple et du Graal: Sâr Joséphin Péladan's R+C Salons, 1892–1897
  2. Edmund B. Lingan
  3. pp. 98-106
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  1. Memory Divided
  2. Benjamin Gillespie
  3. p. 107
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  1. Ruff
  2. Peggy Shaw, Lois Weaver
  3. pp. 108-132
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  1. Reconsidering Archives and Performance
  2. Stephanie Vella
  3. pp. 133-137
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  1. Black Performance on the Outskirts of the Left: A History of the Impossible by Malik Gaines (review)
  2. James F. Wilson
  3. pp. 138-139
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  1. Performance Art in Eastern Europe since 1960 by Amy Bryzgel (review)
  2. Cristina Modreanu
  3. pp. 139-141
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  1. Muse, Microdramas: Crucibles for Theater and Time by John H. Muse (review)
  2. Aaron C. Thomas
  3. pp. 141-143
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