| Volume 2, Issue 1, Spring 1968 |
|
| Theater, Drama, and the Second World: A Prologue to Shakespeare |
Harry Berger Jr. |
| Eugene O'Neill's The Emperor Jones and The Hairy Ape as Mirror Plays |
Emil Roy |
| Sovereignty in the Digby Mary Magdalene |
John W. Velz |
| Lonely Search into the Unknown: T'ien Han's Early Plays, 1920-1930 |
Constantine Tung |
| Dialog and the Socialist World: The Spectrum of Influence |
Edward J. Czerwinski |
| Volume 2, Issue 2, Summer 1968 |
|
| Elizabethan Drama and the Art of Abstraction |
Russell Fraser |
| Ibsen and Albee's Spurious Children |
Terry Otten |
| Who's Afraid of Jesus Christ?: Games in the Coliphizacio |
Barry Sanders |
| The Style of the Boy Actors |
Ejner J. Jensen |
| Ts'ao Yu: Dramatist in Communist China |
Walter J. Meserve & Ruth I. Meserve |
| Troilus and Cressida: The Observer as Basilisk |
Harry Berger Jr. |
| Volume 2, Issue 3, Fall 1968 |
|
| The Achievement of Arthur Miller |
Robert W. Corrigan |
| Shadow and Substance: Structural Unity in Titus Andronicus |
John P. Cutts |
| Axel: Play and Hearsay |
Marilyn Gaddis Rose |
| The Melodies of the Medieval Church-Dramas and Their Significance |
William L. Smolden |
| Volume 2, Issue 4, Winter 1968-69 |
|
| The Uses of Silence: The Elizabethan Dumb Show and the Silent Cinema |
Sidney R. Homan |
| An Enemy of the People: A Key to Arthur Miller's Art and Ethics |
David Bronson |
| The Masque of Hymen in As You Like It |
Marilyn L. Williamson |
| The Arena Theatres in Vienna Codices 2535 and 2536 | Merle Fifiled |
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