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In this Issue

Table of Contents

  1. Editorial Comment: Archives and Afterlives
  2. Laura Edmondson
  3. pp. vii-xii
  4. DOI: https://doi.org/10.1353/tj.2023.a908730
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  1. Un Llanto Colectivo: A PerformaProtesta
  2. Jade Power-Sotomayor
  3. pp. 121-141
  4. DOI: https://doi.org/10.1353/tj.2023.a908731
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  1. Skrzypek as Synecdoche: Polish-Jewishness in Fiddler on the Roof
  2. Rachel Merrill Moss
  3. pp. 143-166
  4. DOI: https://doi.org/10.1353/tj.2023.a908732
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  1. From Witnessing to Redress: Objects, Remnants, and Wreckage after the Sewol
  2. Areum Jeong
  3. pp. 167-186
  4. DOI: https://doi.org/10.1353/tj.2023.a908733
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  1. Pingju (Ping Opera) and the Politics of Celebrity in 1930s Shanghai
  2. Siyuan Liu
  3. pp. 187-211
  4. DOI: https://doi.org/10.1353/tj.2023.a908734
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  1. The Suppliants: Ukraine by Aeschylus (review)
  2. Phillip Zapkin
  3. pp. 213-216
  4. DOI: https://doi.org/10.1353/tj.2023.a908735
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  1. Hamlet by William Shakespeare, and: To Take Arms Against a Sea of Troubles by Stas Zhyrkov and Pavlo Arie (review)
  2. Loren Kruger
  3. pp. 216-220
  4. DOI: https://doi.org/10.1353/tj.2023.a908736
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  1. Oregon Shakespeare Festival (review)
  2. Lindsey Mantoan
  3. pp. 220-224
  4. DOI: https://doi.org/10.1353/tj.2023.a908737
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  1. Confederates by Dominique Morisseau (review)
  2. Erin Stoneking
  3. pp. 224-226
  4. DOI: https://doi.org/10.1353/tj.2023.a908738
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  1. The Piano Lesson by August Wilson (review)
  2. Isaiah Matthew Wooden
  3. pp. 226-228
  4. DOI: https://doi.org/10.1353/tj.2023.a908739
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  1. Death and The King's Horseman by Wole Soyinka (review)
  2. Kellen Hoxworth
  3. pp. 228-230
  4. DOI: https://doi.org/10.1353/tj.2023.a908740
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  1. The Seagull by Anton Chekhov (review)
  2. Joseph A. Heissan Jr.
  3. pp. 230-232
  4. DOI: https://doi.org/10.1353/tj.2023.a908741
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  1. Afrovibes Foundation Festival 2022 (review)
  2. Catherine M. Cole
  3. pp. 233-237
  4. DOI: https://doi.org/10.1353/tj.2023.a908742
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  1. Mirzo Ulugbek by Maqsud Sheikhzadeh, and: Bibixonim by Shurat Sanaqulov (review)
  2. Marvin Carlson
  3. pp. 237-240
  4. DOI: https://doi.org/10.1353/tj.2023.a908743
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  1. Aloha Las Vegas by Edward Sakamoto (review)
  2. Stefani Overman-Tsai
  3. pp. 240-241
  4. DOI: https://doi.org/10.1353/tj.2023.a908744
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  1. Torched! dir. by Rosalba Rolón (review)
  2. Briana Beeman
  3. pp. 242-243
  4. DOI: https://doi.org/10.1353/tj.2023.a908745
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  1. Who Killed My Father by Édouard Lous (review)
  2. Aubrey Gabel
  3. pp. 244-246
  4. DOI: https://doi.org/10.1353/tj.2023.a908746
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  1. Transforming Tradition: The Reform of Chinese Theater In The 1950S and Early 1960s by Siyuan Liu (review)
  2. Wei Feng
  3. pp. 247-248
  4. DOI: https://doi.org/10.1353/tj.2023.a908747
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  1. Social Justice in Spanish Golden Age Theater ed. by Erin Alice Cowling et al. (review)
  2. Barbara Fuchs
  3. pp. 248-250
  4. DOI: https://doi.org/10.1353/tj.2023.a908748
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  1. J. M. Synge by Seán Hewitt (review)
  2. Bess Rowen
  3. pp. 250-251
  4. DOI: https://doi.org/10.1353/tj.2023.a908749
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  1. The Fruits of Empire: Art, Food, and The Politics of Race in The Age of American Expansion by Shana Klein (review)
  2. Hazel Rickard
  3. pp. 251-252
  4. DOI: https://doi.org/10.1353/tj.2023.a908750
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  1. Cracking Up: Black Feminist Comedy in The Twentieth And Twentyfirst Century United States by Katelyn Hale Wood (review)
  2. Jenny Henderson
  3. pp. 252-254
  4. DOI: https://doi.org/10.1353/tj.2023.a908751
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  1. Museums Inside Out: Artist Collaborations and New Exhibition Ecologies by Mark W. Rectanus (review)
  2. Inga Meier
  3. pp. 254-255
  4. DOI: https://doi.org/10.1353/tj.2023.a908752
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  1. “There are no bosses between us, ours is a poetics of compromises”: An Interview with RezzaMastrella
  2. Carlo Alberto Petruzzi, Flavia Mastrella, Antonio Rezza
  3. pp. E-1-E-11
  4. DOI: https://doi.org/10.1353/tj.2023.a908769
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  1. Pingju (Ping Opera) Actresses in 1930s Shanghai from the Bottom Up
  2. Siyuan Liu
  3. pp. E-13-E-21
  4. DOI: https://doi.org/10.1353/tj.2023.a908770
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