Theatre Journal

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Editorial Comment: Archives and Afterlives

Laura Edmondson

pp. vii-xii

DOI: https://doi.org/10.1353/tj.2023.a908730

Un Llanto Colectivo: A PerformaProtesta

Jade Power-Sotomayor

pp. 121-141

DOI: https://doi.org/10.1353/tj.2023.a908731

Skrzypek as Synecdoche: Polish-Jewishness in Fiddler on the Roof

Rachel Merrill Moss

pp. 143-166

DOI: https://doi.org/10.1353/tj.2023.a908732

From Witnessing to Redress: Objects, Remnants, and Wreckage after the Sewol

Areum Jeong

pp. 167-186

DOI: https://doi.org/10.1353/tj.2023.a908733

Pingju (Ping Opera) and the Politics of Celebrity in 1930s Shanghai

Siyuan Liu

pp. 187-211

DOI: https://doi.org/10.1353/tj.2023.a908734

The Suppliants: Ukraine by Aeschylus (review)

Phillip Zapkin

pp. 213-216

DOI: https://doi.org/10.1353/tj.2023.a908735

Hamlet by William Shakespeare, and: To Take Arms Against a Sea of Troubles by Stas Zhyrkov and Pavlo Arie (review)

Loren Kruger

pp. 216-220

DOI: https://doi.org/10.1353/tj.2023.a908736

Oregon Shakespeare Festival (review)

Lindsey Mantoan

pp. 220-224

DOI: https://doi.org/10.1353/tj.2023.a908737

Confederates by Dominique Morisseau (review)

Erin Stoneking

pp. 224-226

DOI: https://doi.org/10.1353/tj.2023.a908738

The Piano Lesson by August Wilson (review)

Isaiah Matthew Wooden

pp. 226-228

DOI: https://doi.org/10.1353/tj.2023.a908739

Death and The King's Horseman by Wole Soyinka (review)

Kellen Hoxworth

pp. 228-230

DOI: https://doi.org/10.1353/tj.2023.a908740

The Seagull by Anton Chekhov (review)

Joseph A. Heissan Jr.

pp. 230-232

DOI: https://doi.org/10.1353/tj.2023.a908741

Afrovibes Foundation Festival 2022 (review)

Catherine M. Cole

pp. 233-237

DOI: https://doi.org/10.1353/tj.2023.a908742

Mirzo Ulugbek by Maqsud Sheikhzadeh, and: Bibixonim by Shurat Sanaqulov (review)

Marvin Carlson

pp. 237-240

DOI: https://doi.org/10.1353/tj.2023.a908743

Aloha Las Vegas by Edward Sakamoto (review)

Stefani Overman-Tsai

pp. 240-241

DOI: https://doi.org/10.1353/tj.2023.a908744

Torched! dir. by Rosalba Rolón (review)

Briana Beeman

pp. 242-243

DOI: https://doi.org/10.1353/tj.2023.a908745

Who Killed My Father by Édouard Lous (review)

Aubrey Gabel

pp. 244-246

DOI: https://doi.org/10.1353/tj.2023.a908746

Transforming Tradition: The Reform of Chinese Theater In The 1950S and Early 1960s by Siyuan Liu (review)

Wei Feng

pp. 247-248

DOI: https://doi.org/10.1353/tj.2023.a908747

Social Justice in Spanish Golden Age Theater ed. by Erin Alice Cowling et al. (review)

Barbara Fuchs

pp. 248-250

DOI: https://doi.org/10.1353/tj.2023.a908748

J. M. Synge by Seán Hewitt (review)

Bess Rowen

pp. 250-251

DOI: https://doi.org/10.1353/tj.2023.a908749

The Fruits of Empire: Art, Food, and The Politics of Race in The Age of American Expansion by Shana Klein (review)

Hazel Rickard

pp. 251-252

DOI: https://doi.org/10.1353/tj.2023.a908750

Cracking Up: Black Feminist Comedy in The Twentieth And Twentyfirst Century United States by Katelyn Hale Wood (review)

Jenny Henderson

pp. 252-254

DOI: https://doi.org/10.1353/tj.2023.a908751

Museums Inside Out: Artist Collaborations and New Exhibition Ecologies by Mark W. Rectanus (review)

Inga Meier

pp. 254-255

DOI: https://doi.org/10.1353/tj.2023.a908752

“There are no bosses between us, ours is a poetics of compromises”: An Interview with RezzaMastrella

Carlo Alberto Petruzzi, Flavia Mastrella, Antonio Rezza

pp. E-1-E-11

DOI: https://doi.org/10.1353/tj.2023.a908769

Pingju (Ping Opera) Actresses in 1930s Shanghai from the Bottom Up