A
|
| Essay |
Author |
Location |
Absorbing Interests: Kyd's Bloody
Handkerchief as Palimpsest
view abstract |
Andrew Sofer |
Vol 34, No 2
Summer 2000
|
The Absurd World of Strindberg's
The Dance of Death
|
Orley I. Holtan |
Vol 1, No 3
Fall 1967
|
| Absurdity in English: Joyce and O'Neill |
Ruby Cohn |
Vol 3, No 3
Fall 1969
|
| The Achievement of Arthur Miller |
Robert W. Corrigan |
Vol 2, No 3
Fall 1968
|
The Actor and the Statue: Space,
Time, and Court Performance in
Molière's Dom Juan
|
Michael Spingler |
Vol 25, No 4
Winter 1991-92 |
The Actor in the Script: Affective
Strategies in Shakespeare's Antony
and Cleopatra
|
William E. Gruber |
Vol 19, No 1
Spring 1985 |
Actor, Maschera, and Role: An Approach
to Irony in Performance |
Raymond J. Pentzell |
Vol 16, No 3
Fall 1982
|
Admirable Musicians: Women's Songs
in Othello and The Maid's Tragedy |
Rochelle Smith |
Vol 28, No 3
Fall 1994
|
| Aeschylus and O'Neill: A Phenomenological View |
John Chioles |
Vol 14, No 2
Summer 1980
|
| African Theatre and the West |
Donald Baker |
Vol 11, No 3
Fall 1977
|
African Traditional Drama and Issues
in Theater and Performance Criticism |
John Conteh-Morgan |
Vol 28, No 1
Spring 1994
|
Ahab's Quenchless Feud: The Tragic
Vision In Shakespeare and Melville |
Richard B. Sewall |
Vol 1, No 3
Fall 1967
|
| Albee's Gothic: The Resonances of Cliché |
Witherington, Paul |
Vol 4, No 3
Fall 1970
|
Aleksandar Popovic and Pop-Theatre:
Beyond the Absurd |
E. J. Czerwinski |
Vol 3, No 3
Fall 1969
|
| Alfieri's Saul as Enlightenment Tragedy |
Jerome Mazzaro |
Vol 33, No 1
Spring 1999
|
| All in the Family: Mother Courage and the Ideology in the Gestus |
Claire Gleitman |
Vol 25, No 2
Summer 1991
|
The Allegory of Wisdom
in Lyly's Endimion
|
Carolyn Ruth Swift Lenz |
Vol 10, No 3
Fall 1976 |
The Alogical and Absurdist Aspects
of Russian Realist Drama
|
Simon Karlinsky |
Vol 3, No 3
Fall 1969 |
The Amorous Machiavellism
of The Country Wife
|
Gorman Beauchamp |
Vol 11, No 4
Winter 1977-78 |
Amphitheater Staging: In-the-Round
or to the Front (and What About Asides)?
view abstract |
Richard Fotheringham |
Vol 35, No 2
Summer 2001
|
An American in Ireland: The Representation
of the American in Brian Friel's Plays
view abstract
|
Maria Germanou |
Volume 38, Issue 2,3
Summer/Fall 2004 |
An Enemy of the People: A Key
to Arthur Miller's Art and Ethics
|
David Bronson |
Vol 2, No 4
Winter 1968-69 |
An Enemy of the People:
Ibsen's Reluctant Comedy
|
Harold C. Knutson |
Vol 27, No 2
Summer 1993 |
An Interlude or Mystery Play
by William Ireland, 1975
|
J. W. Robinson |
Vol 13, No 3
Fall 1979 |
An Interpretation of DeWitt's Drawing
on the Methodological Ground of
Perspective Restitution
|
Henryk and Jerzy Limon |
Vol 17, No 3
Fall 1983 |
An Ocean of Possibilities: From
Lokadharmī to Nātyadharmī in
a Kathakali Santānagōpālam
|
Phillip B. Zarrilli |
Vol 28, No 1
Spring 1994 |
Animal Symbolism in Shakespeare's
Hamlet: The Imagery of Sex Nausea
|
Karl P. Wentersdorf |
Vol 17, No 4
Winter 1983-84 |
The Anonymous Masque-like
Entertainment in Egerton MS. 1994,
and Richard Brome
|
John Cutts |
Vol 1, No 4
Winter 1967-68 |
Anouilh's Little Antigone: Tragedy,
Theatricalism, and the Romantic Self
|
Michael Spingler |
Vol 8, No 3
Fall 1974 |
The Antichrist Ubu
|
James H. Bierman |
Vol 9, No 3
Fall 1975 |
Anti-Colonist Discourse, Tragicomedy,
and the "American" Behn
read first paragraph
|
Adam R. Beach |
Vol 38, No 2,3
Summer/Fall 2004 |
Anti-Semitism and the English
Mystery Plays
|
Stephen Spector |
Vol 13, No 1
Spring 1979 |
Anti-Semitism, Surrogacy, and the Invocation
of Mohammed in thePlay of the Sacrament
view abstract
|
Michael Mark Chemers |
Volume 41.1
Spring 2007 |
Antonio's Revenge: "Never more
woe in lesser plot was found"
|
George L. Geckle |
Vol 6, No 4
Winter 1972-73 |
Antony and Cleopatra and Rosmersholm:
"Third Empire" Love Tragedies
|
Errol Durbach |
Vol 20, No 1
Spring 1986 |
Aphra Behn’s The City Heiress: Feminism
and the Dynamics of Popular Success on the
Late Seventeenth-Century Stage
view 1st paragraph
|
Robert Markley |
Vol 41, No 2
Summer 2007 |
Aphrodite katadyomene: Dryden's
Cleopatra on the Cydnos
|
Derek Hughes |
Vol 14, No 1
Spring 1980 |
| Archetypal Patterns in Fry |
Emil Roy |
Vol 1, No 2
Summer 1967
|
The Archetypal Unity of
Eugene O'Neill's Drama
|
Emil Roy |
Vol 3, No 4
Winter 1969-70 |
The Arena Theatres in Vienna
Codices 2535 and 2536
|
Merle Fifiled |
Vol 2, No 4
Winter 1968-69 |
Ariel Dorfman and Harold Pinter:
Politics of the Periphery and Theater
of the Metropolis
|
Stephen Gregory |
Vol 30, No 3
Fall 1996 |
| The Arlecchino and Three English Tinkers |
Nina DaVinci Nichols |
Vol 36, No 1,2
Spring/Summer 2002
|
The Arrival of Europeans: Folk
Dramatizations of Conquest and
Conversion in New Mexico
|
Max Harris |
Vol 28, No 1
Spring 1994 |
Artaud's Revision of Shelley's The Cenci:
The Text and its Double
|
Jane Goodall |
Vol 21, No 2
Summer 1987 |
Arthur Sullivan, Haddon Hall, and
the Iconic Mode
|
Michael Beckerman |
Vol 22, No 1
Spring 1988 |
As imaginem suam: Regional Chant Variants
and the Origins of the Jeu d'Adam
|
Charles T. Downey |
Vol 36, No 3,4
Fall/Winter 2002-03 |
As Secret as Maidenhead: The Profession
of the Boy-Actress in Twelfth Night
|
Matthew H. Wikander |
Vol 20, No 4
Winter 1986-87 |
At the Hawk's Well: Yeats's Unresolved
Conflict Between Language and Silence
|
Edna G. Sharoni |
Vol 7, No 2
Summer 1973 |
Audience and Meaning in Two Medieval Dramatic Realisms
|
William F. Munson |
Vol 9, No 1
Spring 1975 |
August Strindberg: A Modernist in Spite
of Himself
|
Göran Stockenström |
Vol 26, No 2
Summer 1992 |
| Axel: Play and Hearsay |
Marilyn Gaddis Rose |
Vol 2, No 3
Fall 1968 |