1. Editorial Comment
  2. Harry Justin Elam
  3. pp. vii-viii
  4. DOI: 10.1353/tj.2004.0051
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  1. The Spectacle of the Scaffolding: Rape and the Violent Foundations of Medieval Theatre Studies
  2. Jody Enders
  3. pp. 163-181
  4. DOI: 10.1353/tj.2004.0052
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  1. Clockwise-Counterclockwise (The Vowelless Revolution)
  2. Spencer Golub
  3. pp. 183-203
  4. DOI: 10.1353/tj.2004.0058
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  1. Unveiling the Void: The Presence of Absence in the Scenography of Jean Genet's The Screens
  2. Clare Finburgh
  3. pp. 205-224
  4. DOI: 10.1353/tj.2004.0055
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  1. "sneakin' and spyin'" from Broadway to the Beltway: Cold War Masculinity, Brick, and Homosexual Existentialism
  2. John Bak
  3. pp. 225-249
  4. DOI: 10.1353/tj.2004.0042
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  1. Ong Keng Sen's Desdemona, Ugliness, and the Intercultural Performative
  2. Yong Li Lan
  3. pp. 251-273
  4. DOI: 10.1353/tj.2004.0065
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  1. Doctoral Projects in Progress in Theatre Arts, 2004
  2. Linda Donahue
  3. pp. 275-279
  4. DOI: 10.1353/tj.2004.0050
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Performance Reviews

  1. Nothin' Beats Pussy (review)
  2. Shane Vogel
  3. pp. 281-283
  4. DOI: 10.1353/tj.2004.0076
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  1. Jobox (review)
  2. Marcia L. Ferguson
  3. pp. 283-284
  4. DOI: 10.1353/tj.2004.0054
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  1. How Do You Keep Talking Even When You've Said Everything You Thought Possible?, and: Bed Full of Songs (review)
  2. Ehren Fordyce
  3. pp. 284-287
  4. DOI: 10.1353/tj.2004.0056
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  1. Live Culture (review)
  2. Sarah Wishart
  3. pp. 287-289
  4. DOI: 10.1353/tj.2004.0079
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  1. The 40th Theatertreffen (review)
  2. John Rouse
  3. pp. 289-293
  4. DOI: 10.1353/tj.2004.0070
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  1. Festival Theatre des Ameriques (Montreal) (review)
  2. Allen J. Kuharski
  3. pp. 293-296
  4. DOI: 10.1353/tj.2004.0064
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  1. Avignon Theatre Festival Strike (review)
  2. Robert Schneider
  3. pp. 296-299
  4. DOI: 10.1353/tj.2004.0072
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  1. 8 by Tenn (review)
  2. Joe E. Jeffreys
  3. pp. 299-301
  4. DOI: 10.1353/tj.2004.0061
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  1. Waiting for Godot (review)
  2. J. Chris Westgate
  3. pp. 301-303
  4. DOI: 10.1353/tj.2004.0078
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  1. Henry IV, Part One (review)
  2. Amy Hughes
  3. pp. 303-304
  4. DOI: 10.1353/tj.2004.0060
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  1. Salome: The Reading (review)
  2. Michael Y. Bennett
  3. pp. 305-306
  4. DOI: 10.1353/tj.2004.0046
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  1. Beckett/Albee (review)
  2. Martin Puchner
  3. pp. 306-308
  4. DOI: 10.1353/tj.2004.0069
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  1. Democracy (review)
  2. Peter B. Young
  3. pp. 308-309
  4. DOI: 10.1353/tj.2004.0081
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  1. We Will Rock You (review)
  2. Rebecca-Anne do Rozario
  3. pp. 310-311
  4. DOI: 10.1353/tj.2004.0071
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  1. Beauty (review)
  2. Amy Cook
  3. pp. 311-313
  4. DOI: 10.1353/tj.2004.0049
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  1. Avenue Q (review)
  2. Tom Smith
  3. pp. 313-314
  4. DOI: 10.1353/tj.2004.0075
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  1. Live Nude Bouffons, and: Quinnopolis vs. Hamlet (review)
  2. Thomas L. King
  3. pp. 314-316
  4. DOI: 10.1353/tj.2004.0062
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  1. The Hanging Man (review)
  2. Lise Evans
  3. pp. 317-319
  4. DOI: 10.1353/tj.2004.0053
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  1. The Secret in the Wings (review)
  2. Wendy Arons
  3. pp. 319-320
  4. DOI: 10.1353/tj.2004.0040
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Book Reviews

  1. A Queer Sort of Materialism: Recontextualizing American Theatre (review)
  2. Theresa Smalec
  3. pp. 321-322
  4. DOI: 10.1353/tj.2004.0074
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  1. Shakespeare and the Force of Modern Performance (review)
  2. John Osburn
  3. pp. 322-323
  4. DOI: 10.1353/tj.2004.0068
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  1. Theatrical Convention and Audience Response in Early Modern Drama (review)
  2. Susan Bennett
  3. pp. 323-324
  4. DOI: 10.1353/tj.2004.0047
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  1. Not Shakespeare: Bardolatry and Burlesque in the Nineteenth Century (review)
  2. Christopher J. Markle
  3. pp. 325-326
  4. DOI: 10.1353/tj.2004.0066
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  1. Peter Sellars (review)
  2. Jane Baldwin
  3. pp. 326-327
  4. DOI: 10.1353/tj.2004.0043
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  1. The Stage Life of Props (review)
  2. David Krasner
  3. pp. 327-328
  4. DOI: 10.1353/tj.2004.0063
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  1. Staging America: Cornerstone and Community-Based Theater (review)
  2. Stacy Ellen Wolf
  3. pp. 328-330
  4. DOI: 10.1353/tj.2004.0080
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  1. Peering Behind the Curtain: Disability, Illness, and the Extraordinary Body in Contemporary Theater (review)
  2. Ann M. Fox
  3. pp. 330-331
  4. DOI: 10.1353/tj.2004.0057
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  1. The Staging of Drama in the Medieval Church (review)
  2. Adam S. Cohen
  3. pp. 331-332
  4. DOI: 10.1353/tj.2004.0048
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  1. The Cambridge History of Medieval English Literature (review)
  2. Sharon Aronson-Lehavi
  3. pp. 333-334
  4. DOI: 10.1353/tj.2004.0041
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  1. The Showman and the Slave: Race, Death, and Memory in Barnum's America (review)
  2. Elizabeth Reitz Mullenix
  3. pp. 334-335
  4. DOI: 10.1353/tj.2004.0067
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  1. The New York Concert Saloon: The Devil's Own Nights (review)
  2. Jane Barnette
  3. pp. 335-336
  4. DOI: 10.1353/tj.2004.0044
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  1. Contours of the Theatrical Avant-Garde: Performance and Textuality (review)
  2. Gwendolyn Waltz
  3. pp. 336-338
  4. DOI: 10.1353/tj.2004.0077
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  1. Theatre of Sound: Radio and the Dramatic Imagination (review)
  2. Mary Louise Hill
  3. pp. 338-339
  4. DOI: 10.1353/tj.2004.0059
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  1. Black Theatre: Ritual Performance in the African Diaspora (review)
  2. Robert Craig Baum
  3. pp. 339-340
  4. DOI: 10.1353/tj.2004.0045
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Auto/Archive

  1. The Theatre Journal Auto / Archive: Laurence Senelick
  2. Laurence Senelick
  3. pp. 341-349
  4. DOI: 10.1353/tj.2004.0073
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