In this Issue

Table of Contents

1619: The Dramatic Performance Traditions of North America's First Enslaved Africans

Jeroen Dewulf
pp. 417-442
DOI: https://doi.org/10.1353/cdr.2021.0032
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Brechtian AlienAsian: Socialist ex Machina from Brecht's The Good Woman of Setzuan and David Hare's Fanshen

Sheng-mei Ma
pp. 443-463
DOI: https://doi.org/10.1353/cdr.2021.0033
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Cold War Femininities in China and America: National Ideals and Uncontainable Performances in Tennessee Williams's A Streetcar Named Desire and Yang Lüfang's Cuckoo Sings Again

Zhang Ranran (张冉冉)
pp. 464-489
DOI: https://doi.org/10.1353/cdr.2021.0034
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"I am underneath and oxygen is running out": Suicide as Genetically Inherited or as the Melancholy Identification with the Suicidal Mother in Alice Birch's Anatomy of a Suicide

Alireza Fakhrkonandeh, Yiğit Sümbül
pp. 490-527
DOI: https://doi.org/10.1353/cdr.2021.0035
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Coronada y el toro by Francisco Nieva (review)

Carey Kasten
pp. 528-530
DOI: https://doi.org/10.1353/cdr.2021.0036
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Performing Commedia dell'Arte, 1570-1630 by Natalie Crohn Schmitt (review)

Robert Henke
pp. 531-534
DOI: https://doi.org/10.1353/cdr.2021.0037
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Diversifying Greek Tragedy on the Contemporary US Stage by Melinda Powers (review)

Karelisa Hartigan
pp. 535-537
DOI: https://doi.org/10.1353/cdr.2021.0023
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Theatre and Knowledge by David Kornhaber (review)

Paul A. Kottman
pp. 538-539
DOI: https://doi.org/10.1353/cdr.2021.0024
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Practical Cues and Social Spectacle in the Chester Plays by Matthew Sergi (review)

Pamela M. King
pp. 540-543
DOI: https://doi.org/10.1353/cdr.2021.0025
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Laughter and Civility: the Theater of Emma Gad by Lynn R. Wilkinson (review)

Ulla Kallenbach
pp. 544-547
DOI: https://doi.org/10.1353/cdr.2021.0026
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Tennessee Williams, T-shirt Modernism and the Refashionings of Theater by S. E. Gontarski (review)

John S. Bak
pp. 548-554
DOI: https://doi.org/10.1353/cdr.2021.0027
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Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theatre by Susan Blakely Klein (review)

Elizabeth Oyler
pp. 555-558
DOI: https://doi.org/10.1353/cdr.2021.0028
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Gaming the Stage: Playable Media and the Rise of the English Commercial Theater by Gina Bloom (review)

Rebecca Bushnell
pp. 559-561
DOI: https://doi.org/10.1353/cdr.2021.0029
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King Lear 'After' Auschwitz: Shakespeare, Appropriation and Theatres of Catastrophe in Post-War British Drama by Richard Ashby (review)

Peter Holland
pp. 562-565
DOI: https://doi.org/10.1353/cdr.2021.0030
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Contributors

pp. 566-569
DOI: https://doi.org/10.1353/cdr.2021.0031
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