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Comparative Drama Volume 47 Winter 2013 • No. 4

This volume contains the following contributions:
"Wise Enough to Play the Fool": Robert Armin and Shakespeare’s Sung Songs of Scripted Improvisation

Catherine Henze

After Chekhov: The Three Sisters of Beth Henley, Wendy Wasserstein, Timberlake Wertenbaker, and Blake Morrison

Verna Foster

"What Citadels, what turrets, and what towers": Mapping the Tower of London in Thomas Heywood's Lord Mayors' Shows

Kristen Deiter

Double Exposures: On the Reciprocity of Influence between Tennessee Williams and Jean Cocteau

Laura Michiels and Christophe Collard

"I Have Done the State Some Service": Reading Slavery in Othello through Juan Latino
Emily Weissbourd
Of Bondage: Debt, Property and Personhood in Early Modern England, by Amanda Bailey

reviewed by: Lorna Hutson

Shakespeare and the Book Trade, by Lukas Erne

reviewed by: Douglas Bruster

The Sentimental Theater of the French Revolution, by Cecilia Feilla

reviewed by: Yann Robert

Metatheater and Modernity: Baroque and Neobaroque, by Mary Ann Frese Witt

reviewed by: Tessa C. Gurney

The Poetics of Piracy, by Barbara Fuchs

reviewed by: Hilaire Kallendorf

The Tears of Sovereignty: Perspectives of Power in Renaissance Drama, by Philip Lorenz

reviewed by: Hilaire Kallendorf

Corpus Christi Plays at York: A Context for Religious Drama, by Clifford Davidson with a contribution in collaboration with Sheila White

reviewed by: Hans-Jürgen Diller

The Ghosts of the Avant-Garde(s): Exorcising Experimental Theater and Performance, by James M. Harding

reviewed by: Jennifer Buckley

The Modern Art of Influence and the Spectacle of Oscar Wilde, by S. I. Salamensky

reviewed by: Ellen Crowell

Acting Together: Performance and the Creative Transformation of Conflict, edited by Cynthia E. Cohen, Roberto Gutiérrez Varea, and Polly O. Walker

reviewed by: Kelly Howe

Mortal Thoughts: Religion, Secularity, and Identity in Early Modern Culture, by Brian Cummings

reviewed by: Christopher Kendrick