In lieu of an abstract, here is a brief excerpt of the content:

  • Brief Notices
Jonathan Shailor, ed. Performing New Lives: Prison Theatre. Philadelphia: Jessica Kingsley, 2011. Pp 300. $37.95.

This volume begins with a foreward by Evelyn Ploumis-Devick (7–16) and an introduction by the editor (17–32). The primary text includes the following essays: Laura Bates, "' To Know My Deed': Finding Salvation through Shakespeare" (33–48); Brent Buell, "Rehabilitation Through the Arts at Sing Sing: Drama in the Big House" (49–65); Amie Dowling, "59 Places: Dance/Theatre in the Hampshire Jail" (66–82); Judy Dworin, "Time In: Transforming Identity Inside and Out" (83–101); Jodi Jinks, "The Buckle on the Bible Belt" (102–08); Sharon Paquette Lajoie, "From the Meanest Creature: Theatre as a Vehicle for Change" (109–26); John McCabe-Juhnke, "Faith, Hope, and 'Sweet Love Re-Membered': 'Restoration' Theatre in Kansas Prisons" (127–42); Meade Palidofsky, "Fabulous Females: Secrets, Stories, and Hope: Guarding and Guiding Girls Beyond the Barbed Wire Fence" (143–61); Teya Sepinuck, "Living with Life: The Theater of Witness as a Model of Healing and Redemption" (162–79); Jonathan Shailor, "Prison Theatre and the Promise of Reintegration" (180–96); Julia Taylor, "Sculpting Empowerment: Theatre in a Juvenile Facility and Beyond" (197–212); Curt L. Tofteland, "The Keeper of the Keys" (213–30); Jean Trounstine, "Revisiting Sacred Spaces" (231–46); Agnes Wilcox, "The Inmates, the Actors, the Characters, the Audience, and the Poet Are of Imagination All Compact" (247–55); Elizabeth Charlebois, "' Their Minds Transfigured So Together': Imaginative Transformation and Transcendence in A Midsummer Night's Dream" (156–69). The text concludes with "A Conversation with the Authors: Prison Theatre Artists in Dialogue" (270–84), contributor biographies (285–91), a subject index (292–98), and an author index (299–300).

Olga M. Mesropova and Stacey Weber-Fève, eds. Being and Becoming Visible: Women, Performance, and Visual Culture. Baltimore: Johns Hopkins University Press, 2010. Pp. xviii + 265. $70.00 casebound, $35.00 paperbound.

This volume begins with an introduction by the editors (vii–xviii) and Margaret D. Stetz, "Feminist Exhibitionism: When the Women's Studies Professor Is a Curator" (1–12). The primary text includes essays in three parts. Part 1, "Spectators, [End Page 155] Spectacles, and Cultural Icons," includes Jill R. Chancey, "Diana Doubled: The Fairytale Princess and the Photographer" (13–25); Denise Bauer, "Alice Neel's Portraits of Mother Work" (26–43); Anne McLeer, "Practical Perfection? The Nanny Negotiates Gender, Class, and Family Contradictions in 1960s Popular Culture" (44–65); Lori Landay, "Millions 'Love Lucy'": Commodification and the Lucy Phenomenon" (66–88). Part 2, "Explicit Selves, Explicit Bodies," includes Mary K. DeShazer, "Fractured Borders: Women's Cancer and Feminist Theater" (89–114); Diane Shoos, "Representing Domestic Violence: Ambivalence and Difference in What's Love Got to Do with It" (115–33); Vivyan C. Adair, "The Missing Story of Ourselves: Poor Women, Power, and the Politics of Feminist Representation" (134–58); Mila Ganeva, "Fashion Photography and Women's Modernity in Weimar Germany: The Case of Yva" (159–88). Part 3, "Iconographies of Communal Identity," includes Kim Miller, "Iconographies of Gender, Poverty, and Power in Contemporary South African Visual Culture" (189–207); Emmanuel David, "Cultural Trauma, Memory, and Gendered Collective Action: The Case of Women of the Storm Following Hurricane Katrina" (208–33); Caroline Brown, "The Representation of the Indigenous Other in Daughters of the Dust and The Piano" (234–52). The text concludes with a list of contributors (253–56) and an index (257–65).

Graham Bradshaw, Tom Bishop, and David Schalkwyk, eds. The Shakespearean International Yearbook, vol. 10, Special Section: The Achievement of Robert Weimann. Farnham: Ashgate, 2010. Pp. vi + 332. $124.95.

This volume contains essays in two parts. Part I, "Special Section: The Achievement of Robert Weimann," includes Robert Weimann, "Performance in Shakespeare's Theatre: Ministerial and/or Magisterial?" (3–30); K. Ludwig Pfeiffer, "Traction Control" (31–38); Dennis Kennedy, "The Spectator, the Text, and Ezekiel" (39–46); David Schalkwyk, "Text and Performance, Reiterated: A Reproof Valiant of Lie Direct?" (47–76); W. B. Worthen, "Shakespeare Performance Studies" (77–92); William N. West, "Author's Voice? Acting with Authority in Early References to Shakespeare" (93–118); John Gillies, "The Author's Accomplice, or the Unsearchable Complicities of Players in the...

pdf

Share