H |
||
| Subject/Essay | Author | Location |
| Haddon Hall | ||
| Arthur Sullivan, Haddon Hall, and the Iconic Mode |
Michael Beckerman | Volume 22, Issue 1 Spring 1988 |
| __________________________________________________________________________________ | ||
| The Hairy Ape | ||
| Eugene O'Neill's The Emperor Jones and The Hairy Ape as Mirror Plays |
Emil Roy | Volume 2, Issue 1 Spring 1968 |
| __________________________________________________________________________________ | ||
| Hamilton, Cicely | ||
| From Great Women to Top Girls: Pageants of Sisterhood in British Feminist Theatre view abstract |
Rebecca Cameron | Volume 43, Issue 2 Summer 2009 |
| __________________________________________________________________________________ | ||
| Hamletmachine | ||
| Hamlet and the Difference Machine read first paragraph |
Stephen Barker | Volume 46, Issue 3 Fall 2012 |
| __________________________________________________________________________________ | ||
| Hampton, Christopher | ||
| The Director Intervenes: Christopher Hampton's Savages |
Peter Holland | Volume 13, Issue 2 Summer 1979 |
| __________________________________________________________________________________ | ||
| Han, T'ien | ||
| Lonely Search into the Unknown: T'ien Han's Early Plays, 1920-1930 |
Constantine Tung | Volume 2, Issue 1 Spring 1968 |
| __________________________________________________________________________________ | ||
| Handke, Peter | ||
| Peter Handke's The Ride Across Lake Constance: The Illusion of Self-Sufficiency |
June Schlueter | Volume 11, Issue 2 Summer 1977 |
| __________________________________________________________________________________ | ||
| Hapgood | ||
| Tom Stoppard and "Postmodern Science": Normalizing Radical Epistemologies in Hapgood and Arcadia read first paragraph |
Daniel Jernigan | Volume 37, Issue 1 Spring 2003 |
| __________________________________________________________________________________ | ||
| The Harrowing of Hell | ||
| The Narrator within the Performance: Problems with Two Medieval "Plays" |
Bruce Moore | Volume 22, Issue 1 Spring 1988 |
| __________________________________________________________________________________ | ||
| Hartwich, Friedrich | ||
| Friedrich Hartwich's Globus Fortunae (1617): A Dramatization of the Amadis |
Steven R. Huff | Volume 24, Issue 4 Winter 1990-91 |
| __________________________________________________________________________________ | ||
| Hatcher, Jeffrey | ||
| The Play of the Surface: Theater and The Turn of the Screw view abstract |
Frances Babbage | Volume 39, Issue 2 Summer 2005 |
| __________________________________________________________________________________ | ||
| An Hawaiian Idyll | ||
| Staging the Color Line: Alice Dunbar Nelson’s Imagined Hawai’i as African-American Allegory view abstract |
Lurana Donnels O'Malley | Volume 47.1 Spring 2013 |
| __________________________________________________________________________________ | ||
| Heartbreak House | ||
| G. B. Shaw’s Heartbreak House and Harold Pinter’s The Homecoming: Comedies of Implosion view abstract |
Emil Roy | Volume 41, Issue 3 Fall 2007 |
| __________________________________________________________________________________ | ||
| Hedda Gabler | ||
| Hedda and Bailu: Portraits of Two "Bored" Women view 1st paragraph |
Chengzhou He | Volume 35, Issue 3,4 Fall/Winter 2001-02 |
| Mythic Structure in Hedda Gabler: The Mask Behind the Face |
Elinor Fuchs | Volume 19, Issue 3 Fall 1985 |
| __________________________________________________________________________________ | ||
| Henry II | ||
| Henry II in Drama: Changing Historical Outlooks |
Thomas M. Jones | Volume 12, Issue 4 Winter 1978-79 |
| __________________________________________________________________________________ | ||
| Henze, Hans Werner | ||
| The Sound of a Poet Singing Loudly: A Look at Elegy for Young Lovers |
Marc A. Roth | Volume 13, Issue 2 Summer 1979 |
| __________________________________________________________________________________ | ||
| Hercules | ||
| Macbeth and Hercules: The Hero Bewitched |
Elizabeth Truax | Volume 23, Issue 4 Winter 1989-90 |
| __________________________________________________________________________________ | ||
| Herod |
||
| The Iconography of Herod in the Fleury Playbook and the Visual Arts |
Miriam Anne Skey | Volume 17, Issue 1 Spring 1983 |
| Herod the Great in Medieval European Drama |
Miriam Anne Skey | Volume 13, Issue 4 Winter 1979-80 |
| "Look not big, nor stamp, nor stare": Acting Up in The Taming of the Shrew and the Coventry Herod Plays |
Jonathan Gil Harris | Volume 34, Issue 4 Winter 2000-01 |
| To Out-Herod Herod: The Development of a Dramatic Character |
David Staines | Volume 10, Issue 1 Spring 1976 |
| “Whom Seek Ye, Sirs?”: The Logic of Searching in the York Herod and the Magi view abstract |
Nicole R. Rice | Volume 43, Issue 1 Spring 2009 |
| __________________________________________________________________________________ | ||
| Hérodiade | ||
| The Daughters of Herodias in Hérodiade, Salomé, and A Full Moon in March |
Marilyn Gaddis Rose | Volume 1, Issue 3 Fall 1967 |
| __________________________________________________________________________________ | ||
| Heywood, Thomas | ||
| "Both bodily deth and werldly shame": "Little Musgrave and Lady Barnard" as Source for A Woman Killed With Kindness |
Dean A. Hoffman |
Volume 23, Issue 2 Summer 1989 |
| Heywood's Adaptation of Plautus' Rudens: The Problem of Slavery in The Captives |
Carolyn Prager | Volume 9, Issue 2 Summer 1975 |
| Thomas Heywood's The Royall King, and the Loyall Subject and the Fall of Robert Devereux, Second Earl of Essex view abstract |
Kevin Lindberg | Volume 39, Issue 1 Spring 2005 |
| __________________________________________________________________________________ | ||
| Hilton, Walter | ||
| "Blake and wyght, fowll and fayer": Stage Picture in Wisdom Who Is Christ |
David Bevington | Volume 19, Issue 2 Summer 1985 |
| __________________________________________________________________________________ | ||
| Historical Drama | ||
| Danton's Death and the Conventions of Historical Drama |
Herbert Lindenberger | Volume 3, Issue 2 Summer 1969 |
| __________________________________________________________________________________ | ||
| The History of King Richard III | ||
| More's Richard III and Jonson's Richard Crookback and Sejanus |
Robert C. Evans | Volume 24, Issue 2 Summer 1990 |
| __________________________________________________________________________________ | ||
| Histriomastix | ||
| John Marston's Histriomastix and the Golden Age |
George L. Geckle | Volume 6, Issue 3 Fall 1972 |
| Writing and Revenge: John Marston's Histriomastix view abstract |
James P. Bednarz | Volume 36, Issue 1,2 Spring/Summer 2002 |
| __________________________________________________________________________________ | ||
| The Homecoming | ||
| G. B. Shaw’s Heartbreak House and Harold Pinter’s The Homecoming: Comedies of Implosion view abstract |
Emil Roy | Volume 41, Issue 3 Fall 2007 |
| Pinter's The Homecoming: Displacing and Repeating Ibsen |
Thomas Postlewait | Volume 15, Issue 3 Fall 1981 |
| __________________________________________________________________________________ | ||
| Hrotsvit of Gandersheim | ||
| Incest Disguised: Ottonian Influence at Gandersheim and Hrotsvit’s Abraham view abstract |
Regula Meyer Evitt | Volume 41, Issue 3 Fall 2007 |
| __________________________________________________________________________________ | ||
| The Humbling | ||
| To Dazzle as Macbeth: Bisociated Drama in Philip Roth's The Humbling view abstract |
James Duban | Volume 46, Issue 1 Spring 2012 |
| __________________________________________________________________________________ | ||
| Hungarian Drama | ||
| European Influences and National Tradition in Medieval Hungarian Theater |
György E. Szönyi | Volume 15, Issue 2 Summer 1981 |
_________________________________________________________________________________
| Comparative Drama home | Contact the Editors | Reproduction Permission |
| Subscriptions and Back Issues | Submission Guidelines | Links |
| Current Issue | Upcoming Issues | Essay and Contributor Index |