Theatre Journal

In this Issue

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Editorial Comment: Transnational Performances and Ad Hoc Communities

Sean Metzger

pp. ix-xi

DOI: https://doi.org/10.1353/tj.2020.0001

Looking at Pauline Johnson: Gender, Race, and Delsartism’s Legible Body

Colleen Kim Daniher

pp. 1-20

DOI: https://doi.org/10.1353/tj.2020.0002

Whose Lulu Is It Anyway? Performing through Dramaturgies of Excess

S.E. Jackson

pp. 21-37

DOI: https://doi.org/10.1353/tj.2020.0003

Reading Hamlet in Tehran: Neoliberalism and the Politics of Politicizing

Ali-Reza Mirsajadi

pp. 39-60

DOI: https://doi.org/10.1353/tj.2020.0004

Sarin Gas Heartbreak: Theatre and Post-Truth Warfare in Syria

Matt Jones

pp. 61-79

DOI: https://doi.org/10.1353/tj.2020.0005

William Shakespeare’s King Lear by William Shakespeare (review)

Patrick Maley, Richard Halpern

pp. 81-83

DOI: https://doi.org/10.1353/tj.2020.0006

The Oresteia by Ellen McLaughlin (review)

Isaiah Matthew Wooden

pp. 83-86

DOI: https://doi.org/10.1353/tj.2020.0007

“Daddy”: a Melodrama by Jeremy O. Harris (review)

Keary Watts

pp. 86-88

DOI: https://doi.org/10.1353/tj.2020.0008

Berlin’s Zvizdal (Chernobyl—So far So Close) by Berlin, Cathy Blisson (review)

Inga Meier

pp. 88-90

DOI: https://doi.org/10.1353/tj.2020.0009

The Head and the Load (review)

Megan Lewis

pp. 90-92

DOI: https://doi.org/10.1353/tj.2020.0010

The Cold Record by Kirk Lynn (review)

Sarah Kozinn

pp. 92-94

DOI: https://doi.org/10.1353/tj.2020.0011

Adhd (review)

Dennis C. Beck

pp. 94-96

DOI: https://doi.org/10.1353/tj.2020.0012

Vanity Fair by Kate Hamill (review)

Chelsea Phillips

pp. 96-97

DOI: https://doi.org/10.1353/tj.2020.0013

Lottery Day by Ike Holter (review)

Weston Twardowski

pp. 98-99

DOI: https://doi.org/10.1353/tj.2020.0014

The Ladder is Always There by Amanda Coogan (review)

Meiling Cheng

pp. 99-102

DOI: https://doi.org/10.1353/tj.2020.0015

A Little Life (review)

Mert Dilek

pp. 102-104

DOI: https://doi.org/10.1353/tj.2020.0016

Paris des Femmes Festival (review)

Elaine Molinaro

pp. 104-107

DOI: https://doi.org/10.1353/tj.2020.0017

The Shadow of a Gunman by Sean O’Casey, and :Juno and the Paycock by Sean O’Casey, and:The Plough and the Stars by Sean O’Casey (review)

Michael C. O’neill

pp. 107-112

DOI: https://doi.org/10.1353/tj.2020.0018

Goodnight, Tyler by B. J. Tindal (review)

Lindsay Livingston

pp. 112-113

DOI: https://doi.org/10.1353/tj.2020.0019

Creole Drama: Theatre and Society in Antebellum New Orleans by Juliane Braun (review)

Jason Fitzgerald, Sarah E. Chinn

pp. 115-116

DOI: https://doi.org/10.1353/tj.2020.0020

The Nervous Stage: Nineteenth-Century Neuroscience and the Birth of Modern Theatre by Matthew Wilson Smith (review)

Mia Levenson

pp. 116-118

DOI: https://doi.org/10.1353/tj.2020.0021

Rehearsing Revolutions: The Labor Drama Experiment and Radical Activism in the Early Twentieth Century by Mary McAvoy (review)

Paige A. McGinley

pp. 118-119

DOI: https://doi.org/10.1353/tj.2020.0022

The American Negro Theatre and the Long Civil Rights Era by Jonathan Shandell (review)

Julie Burrell

pp. 119-121

DOI: https://doi.org/10.1353/tj.2020.0023

Fiery Temporalities in Theatre and Performance: The Initiation of History by Maurya Wickstrom (review)

Rosa E. Schneider

pp. 121-122

DOI: https://doi.org/10.1353/tj.2020.0024

Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work by Melissa Poll (review)

Natalie Rewa

pp. 122-124

DOI: https://doi.org/10.1353/tj.2020.0025

Performing Post-Truth: An Interview with Director Ashlie Corcoran