C
|
| Subject/Essay |
Author |
Location |
| Calderón, Pedro |
|
|
Comedia and Trauerspiel: On
Benjamin and Calderón |
Anthony J. Cascardi |
Volume 16, Issue 1,
Spring 1982
|
Emblematic Technique in the
Auto Sacramental: Calderón's
No hay más fortuna que Dios |
Frederick E. Danker |
Volume 6, Issue 1,
Spring 1972
|
| _________________________________________________________________________________ |
| Calderwood, James L. |
|
|
The Evolution of Shakespearean
Metadrama: Abel, Burkhardt,
and Calderwood
|
Richard Fly |
Volume 20, Issue 2,
Summer 1986 |
| _________________________________________________________________________________ |
| Cambises |
|
|
"Lamentable tragedy mixed ful
of pleasant mirth": The Enigma
of Cambises
|
Howard B. Norland |
Volume 26, Issue 4,
Winter 1992-93
|
| _________________________________________________________________________________ |
| Camillo, Giulio |
|
|
Giulio Camillo's Idea of the Theater:
The Enigma of the Renaissance |
Albert R. Cirillo |
Volume 1, Issue 1,
Spring 1967
|
| _________________________________________________________________________________ |
| Camus, Albert |
|
|
Imprisonment in Camus' "Modern
Tragedies":Les Justes, Requiem
pour un nonne, Le Malentendu |
Mary Ann Frese Witt |
Volume 5, Issue 1,
Spring 1971
|
The Limits of Violence: Camus's Tragic
View of the Rebel |
Alfred Schwarz |
Volume 6, Issue 1,
Spring 1972
|
| _________________________________________________________________________________ |
| Canadian Drama |
|
|
Mapping Jouissance: Insights from a
Case Study in the Schizophrenia of
Canadian Drama
read first paragraph
|
Gregory J. Reid |
Volume 35, Issue 3,4,
Fall/Winter 2001-02
|
| Quebec's Theater of Liberation |
Edwin Joseph Hamblet |
Volume 5, Issue 1,
Spring 1971
|
| _________________________________________________________________________________ |
| The Captives |
|
|
Heywood's Adaptation of Plautus'
Rudens: The Problem of Slavery in
The Captives |
Carolyn Prager |
Volume 9, Issue 2,
Summer 1975
|
| _________________________________________________________________________________ |
| Marina Carr |
|
|
Talking with Ghosts of Irish Playwrights
Past: Marina Carr's By the Bog of Cats…
view abstract
|
Richard Russell |
Volume 40, Issue 2,
Summer 2006 |
| _________________________________________________________________________________ |
| Caryll, John |
|
|
The Originality of John Caryll's
Sir Salomon |
Richard C. Taylor |
Volume 20, Issue 3,
Fall 1986
|
| _________________________________________________________________________________ |
| The Castle of Perseverance |
|
|
Backbiter and the Rhetoric of Detraction
read first paragraph |
Douglas W. Hayes |
Volume 34, Issue 1,
Spring 2000
|
Fifteenth-Century Flamboyant Style and
The Castle of Perseverance |
Michael R. Kelley |
Volume 6, Issue 1,
Spring 1972
|
"Of the seven ages": An Unknown Analogue
of The Castle of Perseverance
|
Alan H. Nelson |
Volume 8, Issue 1,
Spring 1974
|
Staging L'Omme Pecheur and
The Castle of Perseverance
|
Peter Happé |
Volume 30, Issue 3,
Fall 1996 |
| _________________________________________________________________________________ |
| Castellini, Jacopo |
|
|
Two Renaissance Views of Carthage:
Trissino's Sofonisba and Castellini's
Asdrubale |
Beatrice Corrigan |
Volume 5, Issue 3,
Fall 1971
|
| _________________________________________________________________________________ |
| The Cat and the Moon |
|
|
"Haunted by Places": Landscape in
Three Plays by W. B. Yeats
|
Natalie Crohn Schmitt |
Volume 31, Issue 3,
Fall 1997 |
| _________________________________________________________________________________ |
| Cat on a Hot Tin Roof |
|
|
'Shut Up!' 'Be Quiet!' 'Hush!'
Talk and Its Supression in Three Plays
by Tennesse Williams
|
Thomas F. Van Laan |
Volume 22, Issue 3,
Fall 1988 |
| _________________________________________________________________________________ |
| Catherine the Great |
|
|
From Fat Falstaff to Francophile Fop:
Russian Nationalism in Catherine the
Great's Merry Wives
|
Lurana Donnels O'Malley |
Volume 33, Issue 3,
Fall 1999 |
| _________________________________________________________________________________ |
| Cecchi, Giovan Maria |
|
|
Cecchi and the Reconciliation of
Theatrical Traditions |
Douglas Radcliff-Umstead |
Volume 9, Issue 2,
Summer 1975
|
| _________________________________________________________________________________ |
| The Cenci |
|
|
Artaud's Revision of Shelley's The Cenci:
The Text and its Double
|
Jane Goodall |
Volume 21, Issue 2,
Summer 1987 |
| The Incest Motif in Shelley's The Cenci |
Barbara Groseclose |
Volume 19, Issue 3,
Fall 1985
|
| _________________________________________________________________________________ |
| Centlivre, Susannah |
|
|
Centlivre v. Hardwicke: Susannah
Centlivre's Plays and the Marriage
Act of 1753
|
Margo Collins |
Volume 33, Issue 2,
Summer 1999
|
| _________________________________________________________________________________ |
| The Changeling |
|
|
The Changeling: Notes on Mannerism
in Dramatic Form |
Raymond J. Pentzell |
Volume 9, Issue 1,
Spring 1975
|
"Framing" as Collaborative Technique:
Two Middleton-Rowley Plays |
Michael E. Mooney |
Volume 13, Issue 2,
Summer 1979
|
| Madhouse Optics: The Changeling |
Joseph M. Duffy |
Volume 8, Issue 2,
Summer 1974
|
| _________________________________________________________________________________ |
| A Chaste Maid in Cheapside |
|
|
Fertility and Comic Form in
A Chaste Maid in Cheapside |
Arthur F. Marotti |
Volume 3, Issue 1, Spring 1969
|
| _________________________________________________________________________________ |
| Chekhov, Anton |
|
|
Chekhov and Naturalism:
From Affinity to Divergence |
Nicholas Moravcevich |
Volume 4, Issue 4,
Winter 1970-71
|
Chekhov in Ireland: Brief Notes on
Friel's Philadelphia
|
James Coakley |
Volume 7, Issue 3,
Fall 1973
|
The Idea of Definitive Production:
Chekhov in and out of Period
|
J. L. Styan |
Volume 4, Issue 3,
Fall 1970
|
| _________________________________________________________________________________ |
| Chester Plays |
|
|
Audience and Meaning in Two Medieval
Dramatic Realisms |
William F. Munson |
Volume 9, Issue 1,
Spring 1975
|
"Cockes face" and the Problem of
poydrace in the Chester Passion |
Lorrayne Y. Baird |
Volume 16, Issue 3,
Fall 1982
|
Comic Eschatology in the Chester
Coming of Antichrist |
Leslie Howard Martin |
Volume 5, Issue 3,
Fall 1971
|
The Dramatic Strategies of Chester's
Passion Pagina
|
Peter W. Travis |
Volume 8, Issue 3,
Fall 1974
|
Lessons in "Hopping": The Dance of
Death and the Chester Mystery Cycle
view abstract
|
Sophie Oosterwijk |
Volume 36, Issue 3,4,
Fall/Winter 2002-03
|
| _________________________________________________________________________________ |
| Chinese Drama |
|
|
Brokering Glory for the Chinese Nation:
Peking Opera's 1930 American Tour
view abstract
|
Nancy Guy |
Volume 35, Issue 3,4,
Fall/Winter 2001-02
|
Chinese Noh and Japanese Noh:
Nuo's Role in the Origination and
Formation of Noh
view abstract
|
Min Tian |
Volume 37, Issue 3,4,
Fall/Winter 2003-04
|
Dances with Brecht: Huang Zuolin and
His Xieyi Theater
|
Ronnie Bai |
Volume 33, Issue 3,
Fall 1999
|
Lao Sheh: From People's Artist to
"An Enemy of the People" |
Walter J. Meserve
and Ruth I. Meserve |
Volume 8, Issue 2,
Summer 1974
|
Meyerhold Meets Mei Lanfang: Staging
the Grotesque and the Beautiful
|
Min Tian |
Volume 33, Issue 2,
Summer 1999 |
Peking Opera before the
Twentieth Century |
Colin Mackerras |
Volume 28, Issue 1,
Spring 1994
|
Questions of Identity in Contemporary
Hong Kong Theater
|
Clayton G. MacKenzie |
Volume 29, Issue 2,
Summer 1995 |
(Re)cycling Culture: Chinese Opera
in the United States
view abstract
|
Cecilia J. Pang |
Vol 39, No. 3,4
Fall/Winter 2005-06 |
"Together Again": Theater in Postcolonial
Hong Kong
read first paragraph
|
Clayton G. MacKenzie
and Moira Arthurs |
Volume 37, Issue 1,
Spring 2003
|
| Ts'ao Yu: Dramatist in Communist China |
Walter J. Meserve
and Ruth I. Meserve |
Volume 2, Issue 2,
Summer 1968
|
| _________________________________________________________________________________ |
| Churchill, Caryl |
|
|
“Is everything history?”: Churchill, Barker
and the Modern History Play
view abstract
|
Brean S. Hammond |
Volume 41, Issue 1
Spring 2007 |
Serious Money Becomes "Business by
Other Means": Caryl Churchill's
Metatheatrical Subject
read first paragraph
|
Daniel Jernigan |
Volume 38, Issue 2,3,
Summer/Fall 2004 |
| _________________________________________________________________________________ |
| Cibber, Colley |
|
|
Cibber and Vanbrugh: Language, Place,
and Social Order in Love's Last Shift
|
Derek Hughes |
Volume 20, Issue 4,
Winter 1986-87
|
Vanbrugh and Cibber: Language, Place,
and Social Order in The Relapse |
Derek Hughes |
Volume 21, Issue 1,
Spring 1987
|
| _________________________________________________________________________________ |
| The City Heiress |
|
|
Aphra Behn’s The City Heiress: Feminism
and the Dynamics of Popular Success on the
Late Seventeenth-Century Stage
view 1st paragraph
|
Robert Markley |
Volume 41, Issue 2,
Summer 2007 |
| _________________________________________________________________________________ |
| The Cobbler of Preston |
|
|
Shakespeare, Molly House Culture,
and the Eighteenth-Century Stage
|
Charles Conaway |
Volume 38, Issue 4,
Winter 2004-05 |
| _________________________________________________________________________________ |
| Coliphizacio |
|
|
Who's Afraid of Jesus Christ?:
Games in the Coliphizacio |
Barry Sanders |
Volume 2, Issue 2,
Summer 1968
|
| _________________________________________________________________________________ |
| Comedy |
|
|
An Enemy of the People: Ibsen's
Reluctant Comedy
|
Harold C. Knutson |
Volume 27, Issue 2,
Summer 1993 |
From Play to Plays: The
Folklore of Comedy |
Harry Levin |
Volume 16, Issue 2,
Summer 1982
|
Menaechmi and the Renaissance of Comedy
view abstract
|
Richard F. Hardin |
Volume 37, Issue 3,4,
Fall/Winter 2003-04
|
| Othello and New Comedy |
Frances Teague |
Volume 20, Issue 1,
Spring 1986
|
Some Suggestions about the Relationships
between O'Casey and Classical Comedy |
James Coakley
and Marvin Felheim |
Volume 4, Issue 4,
Winter 1970-71
|
| Terence and the Death of Comedy |
Sander M. Goldberg |
Volume 16, Issue 4,
Winter 1982-83
|
| _________________________________________________________________________________ |
| Comedia |
|
|
Comedia and Trauerspiel: On Benjamin
and Calderón |
Anthony J. Cascardi |
Volume 16, Issue 1,
Spring 1982
|
| _________________________________________________________________________________ |
| Commedia dell'arte |
|
|
The Arlecchino and Three English Tinkers
|
Nina DaVinci Nichols |
Volume 36, Issue 1,2,
Spring/Summer 2002
|
| _________________________________________________________________________________ |
| Commedia Grave |
|
|
Sforza Oddi and the Commedia Grave:
Setting the Stage for Shakespeare
|
Robert W. Leslie |
Volume 30, Issue 4,
Winter 1996-97
|
| _________________________________________________________________________________ |
| Coming of Antichrist |
|
|
Comic Eschatology in the Chester
Coming of Antichrist |
Leslie Howard Martin |
Volume 5, Issue 3,
Fall 1971
|
| _________________________________________________________________________________ |
| Communism |
|
|
| Ts'ao Yu: Dramatist in Communist China |
Walter J. Meserve
and Ruth I. Meserve |
Volume 2, Issue 2,
Summer 1968
|
| _________________________________________________________________________________ |
| The Condemned of Altona |
|
|
Towards a Theater of Immobility:
Henry IV, The Condemned of
Altona, and The Balcony |
Mary Ann Frese Witt |
Volume 24, Issue 2,
Summer 1990
|
| _________________________________________________________________________________ |
| Contemporary Drama |
|
|
Questions of Identity in Contemporary
Hong Kong Theater
|
Clayton G. MacKenzie |
Volume 29, Issue 2,
Summer 1995
|
Theatrum Mundi and Contemporary
Theater |
Ruby Cohn |
Volume 1, Issue 1,
Spring 1967
|
| _________________________________________________________________________________ |
| The Conversion of St. Paul |
|
|
Frame Structure in
The Conversion of St. Paul
|
Victor I. Scherb |
Volume 26, Issue 2,
Summer 1992
|
| _________________________________________________________________________________ |
| Coriolanus |
|
|
Drama, Politics, and the Hero:
Coriolanus, Brecht, and Grass |
Martin Scofield |
Volume 24, Issue 4,
Winter 1990-91
|
| _________________________________________________________________________________ |
| Cornish Drama |
|
|
Memorial Reconstruction in a Cornish
Miracle Play |
Paula Neuss |
Volume 5, Issue 2,
Summer 1971
|
The Middle Cornish Interlude:
Genre and Tradition |
Evelyn S. Newlyn |
Volume 30, Issue 2,
Summer 1996
|
The Middle-Cornish Play
Beunans Meriasek |
Robert T. Meyer |
Volume 3, Issue 1,
Spring 1969
|
A Reassessment of the Date and
Provenance of the Cornish Ordinalia |
Gloria J. Betcher |
Volume 29, Issue 4,
Winter 1995-96
|
Situating the Holy: Celtic Community
in Breton and Cornish Saint Plays |
Victor I Scherb |
Volume 35, Issue 3,4,
Fall/Winter 2001-02
|
Two Medieval Cornish Versions of the
Creation of the World |
Robert Longsworth |
Volume 21, Issue 3,
Fall 1987
|
| _________________________________________________________________________________ |
| Corpus Christi Cycle |
|
|
A Catalan Corpus Christi Play: The
Martyrdom of St. Sebastian with
the Hobby Horses and the Turks
|
Max Harris |
Volume 31, Issue 2,
Summer 1997
|
Corpus Christi "Cycles" in Yorkshire:
The Surviving Records |
Barbara D. Palmer |
Volume 27, Issue 2,
Summer 1993
|
On Recovering the Lost Norwich
Corpus Christi Cycle |
Alan H. Nelson |
Volume 4, Issue 4,
Winter 1970-71
|
| _________________________________________________________________________________ |
| Così è (se vi pare) |
|
|
Mathematical Certainty and Pirandello's
Così è (se vi pare)
|
Jerome Mazzaro
|
Volume 28, Issue 4,
Winter 1994-95 |
| _________________________________________________________________________________ |
| The Country Wife |
|
|
The Amorous Machiavellism of
The Country Wife |
Gorman Beauchamp |
Volume 11, Issue 4,
Winter 1977-78
|
| _________________________________________________________________________________ |
| Cowley, Hannah |
|
|
Theatricality and Cosmopolitanism in
Hannah Cowley's The Belle's Stratagem
read first paragraph
|
Elizabeth Kowaleski Wallace |
Volume 35, Issue 3,4,
Fall/Winter 2001-02
|
| _________________________________________________________________________________ |
| Craig, Edith |
|
|
Kori Torahiko and Edith Craig:
A Japanese Playwright in London
and Toronto
|
Yoko Chiba |
Volume 30, Issue 4,
Winter 1996-97 |
| _________________________________________________________________________________ |
| Criticism |
|
|
Criticism and the Films of
Shakespeare's Plays |
Marvin Felheim |
Volume 9, Issue 2,
Summer 1975
|
| Methods of Drama Criticism |
Roy Battenhouse |
Volume 14, Issue 3,
Fall 1980
|
Typology, Criticism, and Medieval Drama:
Some Observations on Method |
Patrick J. Collins |
Volume 10, Issue 4,
Winter 1976-77
|
| _________________________________________________________________________________ |
| Crommelynck, Fernand |
|
|
Crommelynck's Farcical and
Mythmaking Expressionism |
Bettina Knapp |
Volume 10, Issue 4,
Winter 1976-77
|
| _________________________________________________________________________________ |
| Croune, John |
|
|
'Hay for the Daughters!' Gender and
Patriarchy in The Miseries of Civil
War and Henry VI
|
Joyce Green MacDonald |
Volume 24, Issue 3,
Fall 1990 |
| _________________________________________________________________________________ |
| Crowne, John |
|
|
Judeo-Christian Apocalyptic Literature
and John Crowne's The Destruction
of Jerusalem
|
John B. Rollins |
Volume 35, Issue 2,
Summer 2001
|
| _________________________________________________________________________________ |
| The Crown Bride |
|
|
The Skogsrå of Folklore and Strindberg's
The Crown Bride |
Larry E. Synergaard |
Volume 6, Issue 4,
Winter 1972-73
|
| _________________________________________________________________________________ |
| Cumberland, Richard |
|
|
Richard Cumberland, Comic Force,
and Misanthropy
|
Eugene M. Waith |
Volume 12, Issue 4,
Winter 1978-79
|
| _________________________________________________________________________________ |
| Curlew River |
|
|
The Weeping Mothers in Sumidigawa,
Curlew River, and Medieval
European Religious Plays
view abstract
|
Mikiko Ishii |
Vol 39, No. 3,4
Fall/Winter 2005-06 |
| _________________________________________________________________________________ |
| Curse of the Starving Class |
|
|
Text as Agent in Sam Shepard's
Curse of the Starving Class |
Charles R. Lyons |
Volume 24, Issue 1,
Spring 1990
|
| _________________________________________________________________________________ |
| The Cyclops |
|
|
The Double Vision of Euripides'
Cyclops: An Ethnographic Odyssey
on the Satyr Stage
|
Carol Dougherty |
Volume 33, Issue 3,
Fall 1999 |
| |
|
|