U |
||
| Essay | Author | Location |
| Understanding Sam Shepard's Realism |
William W. Demastes | Volume 21, Issue 3, Fall 1987 |
| The Undiscovered Country | John Arthos | Volume 10, Issue 1, Spring 1976 |
| Undoing the Dramatic History of the Riga Ludus Prophetarum |
Regula Meyer Evitt | Volume 25, Issue 3, Fall 1991 |
| The Uniqueness of Elizabethan Drama |
Jonas A. Barish | Volume 11, Issue 2, Summer 1977 |
| Unpardonable Sins: The Hazards of Performative Language in the Tragic Cases of Francesco Spiera and Doctor Faustus view abstract |
Daniel Gates | Volume 38, Issue 1, Spring 2004 |
| The Urner Tellenspiel of 1512: Strategies of Early Political Drama read first paragraph |
Martin W. Walsh | Volume 34, Issue 2, Summer 2000 |
| The Use of Architectural Space in Medieval Music-Drama |
Dunbar H. Ogden | Volume 8, Issue 1, Spring 1974 |
| The Uses of Silence: The Elizabethan Dumb Show and the Silent Cinema |
Sidney R. Homan | Volume 2, Issue 4, Winter 1968-69 |
| Using Comic Devices to Answer the Ultimate Question: Tom Stoppard's Jumpers and Woody Allen's God |
Felicia Hardison Londré | Volume 14, Issue 4, Winter 1980-81 |
_________________________________________________________________________________
| Comparative Drama home | Contact the Editors | Reproduction Permission |
| Subscriptions and Back Issues | Submission Guidelines | Links |
| Current Issue | Upcoming Issues | Essay and Contributor Index |