Essays

  1. Editorial Comment
  2. E.J. Westlake
  3. pp. vii-viii
  4. DOI: 10.1353/tj.2019.0028
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  1. Performing Multiculturalism: The Turkish Ensemble at the Schaubühne
  2. Misha Hadar
  3. pp. 135-152
  4. DOI: 10.1353/tj.2019.0029
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  1. Staged Work: Intermediality and the Labor of Performance in Christiane Jatahy's Julia and Kid Koala's Nufonia Must Fall
  2. Barbara Fuchs
  3. pp. 153-169
  4. DOI: 10.1353/tj.2019.0030
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  1. Rehearsal Problems: Gus Giordano's The Rehearsal and the Serious Business of Middlebrow Dance
  2. Judith Hamera
  3. pp. 171-189
  4. DOI: 10.1353/tj.2019.0031
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  1. Maya Plisetskaya's The Carmen-Suite: Recovering a Hidden Repertoire
  2. Ania Nikulina
  3. pp. 191-209
  4. DOI: 10.1353/tj.2019.0032
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Performance Reviews

  1. Soft Power by David Henry Hwang (review)
  2. Donatella Galella
  3. pp. 211-213
  4. DOI: 10.1353/tj.2019.0033
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  1. Soft Power by David Hwang (review)
  2. William C. Boles
  3. pp. 213-215
  4. DOI: 10.1353/tj.2019.0034
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  1. Oregon Shakespeare Festival (review)
  2. Sonja Arsham Kuftinec
  3. pp. 215-217
  4. DOI: 10.1353/tj.2019.0035
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  1. Marvel Universe Live (review)
  2. Eero Laine
  3. pp. 218-219
  4. DOI: 10.1353/tj.2019.0036
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  1. Bestie Di Scena by Emma Dante (review)
  2. Francesca Spedalieri
  3. pp. 219-220
  4. DOI: 10.1353/tj.2019.0037
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  1. Arab Theatre Festival (review)
  2. Ric Knowles
  3. pp. 220-223
  4. DOI: 10.1353/tj.2019.0038
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  1. El Burlador De Sevilla (The Trickster of Seville) by Tirso de Molina (review)
  2. Esther Fernández
  3. pp. 224-225
  4. DOI: 10.1353/tj.2019.0039
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  1. Love à La Mode by Charles Macklin (review)
  2. Richard Jones
  3. pp. 225-227
  4. DOI: 10.1353/tj.2019.0040
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  1. The Chairs by Eugène Ionesco (review)
  2. Wei Feng
  3. pp. 227-229
  4. DOI: 10.1353/tj.2019.0041
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  1. Three Tall Women by Edward Albee (review)
  2. Ray Schultz
  3. pp. 229-231
  4. DOI: 10.1353/tj.2019.0042
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  1. Not Every Mountain by Rude Mechs (review)
  2. Cason Murphy
  3. pp. 231-233
  4. DOI: 10.1353/tj.2019.0043
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  1. Sugar in Our Wounds by Donja R. Love (review)
  2. Detra Payne
  3. pp. 233-235
  4. DOI: 10.1353/tj.2019.0044
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  1. As You Like It by William Shakespeare, and: Hamlet by William Shakespeare (review)
  2. Megan Sanborn Jones
  3. pp. 235-238
  4. DOI: 10.1353/tj.2019.0045
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Book Reviews

  1. April in Paris: Theatricality, Modernism, and Politics at the 1925 Art Deco Expo by Irena R. Makaryk (review)
  2. Laurence Senelick
  3. pp. 239-240
  4. DOI: 10.1353/tj.2019.0046
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  1. The Civic Cycles: Artisan Drama and Identity in Premodern England by Nicole R. Rice and Margaret Aziza Pappano (review)
  2. Kate Crassons
  3. pp. 240-241
  4. DOI: 10.1353/tj.2019.0047
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  1. Shakespeare's Lyric Stage: Myth, Music, and Poetry in the Last Plays by Seth Lerer (review)
  2. Deanna Smid
  3. pp. 241-243
  4. DOI: 10.1353/tj.2019.0048
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  1. Performing Unification: History and Nation in German Theater After 1989 by Matt Cornish (review)
  2. Laura Bradley
  3. pp. 243-244
  4. DOI: 10.1353/tj.2019.0049
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  1. Californios, Anglos, and the Performance of Oligarchy in the U.S. West: How the First Generation of Mexican Americans Fashioned a New Nation by Andrew Gibb (review)
  2. Olga Sanchez Saltveit
  3. pp. 244-246
  4. DOI: 10.1353/tj.2019.0050
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  1. Viral Performance: Contagious Theaters from Modernism to the Digital Age by Miriam Felton-Dansky (review)
  2. Douglas Eacho
  3. pp. 246-247
  4. DOI: 10.1353/tj.2019.0051
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  1. Ivo Van Hove Onstage by David Willinger (review)
  2. Laurens De Vos
  3. pp. 247-248
  4. DOI: 10.1353/tj.2019.0052
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  1. Performance and the Medical Body by Alex Mermikides and Gianna Bouchard (review)
  2. Meredith Conti
  3. pp. 248-250
  4. DOI: 10.1353/tj.2019.0053
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  1. Doctoral Projects in Progress in Theatre Arts, 2019
  2. Troy Matthew Lescher, William English III, Irma Gill
  3. pp. 253-255
  4. DOI: 10.1353/tj.2019.0054
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Online-Only Supplementary Material

  1. Gus Giordano, The Rehearsal, and the Critical Utility of Forgotten Dance Triumphs
  2. Judith Hamera
  3. pp. E-1-E-5
  4. DOI: 10.1353/tj.2019.0055
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