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ix | |
| Introduction |
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1 | (6) |
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PART I STUDIES IN THEATRE HISTORY |
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Berlins "First Responder" Artists, 1945--1946: Theatre and Politics from the Rubble |
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7 | (32) |
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"Would You Die for the Fatherland?": Disciplining the German Commemorative Body |
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39 | (34) |
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Shocking the System: The Arts Council, the British Council, and the Paradox of Cherub Theatre Company |
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73 | (22) |
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The Long View of World Theatre History |
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95 | (30) |
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PART II SPECIAL SECTION: RETHINKING THE MATERNAL |
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125 | (18) |
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Poisoning the Mother/Land: An Ecofeminist Dramaturgy in Jose Rivera's Marisol and Cherrie Moraga's Heroes and Saints |
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143 | (18) |
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Making a Spectacle: Motherhood in Contemporary British Theatre and Performance |
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161 | (18) |
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Un/Natural Motherhood in Marina Carr's The Mai, Portia Couglan, and By the Bog of Cats |
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179 | (18) |
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Flying Babies and Pregnant Men: Staging Motherhood in Marina Carr's Low in the Dark |
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197 | (22) |
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Mothers, Daughters, Identity, and Impossibilities |
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219 | (14) |
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"She Was Always Sad": Remembering Mother in Caryl Churchill's Not Enough Oxygen and A Number |
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233 | (22) |
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"Who Let in One of Them Mothers?": Maternal Perversity on the American Musical Stage |
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255 | (14) |
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Decolonizing Motherhood: Images of Mothering in First Nations Theatre |
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269 | (18) |
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PART III ESSAYS FROM THE CONFERENCE |
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The Robert A. Schanke Award-Winning Essay Whispers from a Silent Past: Inspiration and Memory in Natasha Trethewey's Native Guard |
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287 | (14) |
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Keynote Address En Ser Inspirado | On Being Inspired |
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301 | (22) |
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John Fletcher, Preaching to Convert: Evangelical Outreach and Performance Activism in a Secular Age |
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323 | (2) |
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Florian N. Becker, Paola S. Hernandez, and Brenda Werth, eds., Imagining Human Rights in Twenty-First-Century Theater: Global Perspectives |
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325 | (3) |
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Gary Wills, Making Make-Believe Real: Politics as Theater in Shakespeare's Time |
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328 | (3) |
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Kim Solga, Violence Against Women in Early Modern Performance: Invisible Acts |
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331 | (2) |
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Rosemarie K. Bank and Michal Kobialka, eds., Theatre/Performance Historiography: Time, Space, Matter |
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333 | (3) |
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Kathryn Mederos Syssoyeva and Scott Proudfit, eds., A History of Collective Creation and Collective Creation in Contemporary Performance |
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336 | (5) |
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Leslie Atkins Durham, Women's Voices on American Stages in the Early Twenty-First Century: Sarah Ruhl and Her Contemporaries |
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341 | (2) |
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Chris Jones, Bigger, Brighter, Louder: 150 Years of Chicago Theater As Seen By "Chicago Tribune" Critics |
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343 | (3) |
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Jade Rosina McCutcheon and Barbara Sellers-Young, eds., Embodied Consciousness: Performance Technologies |
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346 | (2) |
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Gareth White, Audience Participation in Theatre: Aesthetics of the Invitation |
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348 | (3) |
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Robert M. Dowling, Eugene O'Neill: A Life in Four Acts, and Jackson R. Bryer and Robert M. Dowling, eds., Eugene O'Neill: The Contemporary Reviews |
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351 | (3) |
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Suraiya Faroqhi and Arzu Ozturkmen, eds., Celebration, Entertainment, and Theatre in the Ottoman World |
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354 | (3) |
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Thomas L. Berger and Sonia Massai, eds., Paratexts in English Printed Drama to 1642 |
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357 | (2) |
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John S. Bak, Tennessee Williams: A Literary Life |
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359 | (3) |
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Bernth Lindfors, Ira Aldridge: The Early Years, 1807--1833, Ira Aldridge: The Vagabond Years, 1833--1852, and Ira Aldridge: Performing Shakespeare in Europe, 1852--1855 |
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362 | (4) |
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Anne Fliotsos and Wendy Vierow, eds., International Women Stage Directors |
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366 | (3) |
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Lucy Nevitt, Theatre & Violence |
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369 | (2) |
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Kurt A. Schreyer, Shakespeare's Medieval Craft: Remnants of the Mysteries on the London Stage |
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371 | (4) |
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| Books Received |
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375 | (2) |
| Contributors |
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377 | |
