Modern Kurt Jooss,” Modern Drama 51.3 (Fall 2008) R
Total Page：16
File Type：pdf, Size：1020Kb
Kate Elswit, “The Some of the Parts: Prosthesis and Function in Bertolt Brecht, Oskar Schlemmer, and MODERN Kurt Jooss,” Modern Drama 51.3 (Fall 2008) R. Darren Gobert, “Cognitive Catharsis in The Caucasian Chalk Circle,” Modern Drama 49.1 (Spring 2006) Drama Kim Solga, “Mother Courage and Its Abject: Reading the Violence of Identification,” Modern Drama 46.3 (Fall 2003) ESSENTIAL READINGS ON Elliott Turley, “‘Devour Him!’: Appetites, Politics, and the Foundations of the Epic in Bertolt Brecht’s ESSENTIAL PLAYWRIGHTS Edward II,” Modern Drama 59.4 (Winter 2016) From the Past Twenty Years of Modern Drama ANTON CHEKHOV Ian Carruthers, “Suzuki Tadashi’s ‘The Chekhov’: Three Sisters, The Cherry Orchard, and Uncle Vania,” Modern Drama 43.2 (Summer 2000) Shawn Kairschner, “Coercive Somatographies: X-rays, Hypnosis, and Stanislavsky’s Production Plan for The Seagull,” Modern Drama 51.3 (Fall 2008) John McKellor Reid, “Ivanov: The Perils of Typicality,” Modern Drama 49.1 (Spring 2006) Peta Tait, “Performative Acts of Gendered Emotions and Bodies in Chekhov’s The Cherry Orchard,” Modern Drama 43.1 (Spring 2000) Stuart Young, “Making the ‘Unstageable’ Stageable: English Rewritings of Chekhov’s First Play,” Modern Drama 52.3 (Fall 2009) CARYL CHURCHILL Sián Adiseshiah, “Revolution and the End of History: SAMUEL BECKETT Caryl Churchill’s Mad Forest,” Richard Begam, “How to Do Nothing with Words, or Waiting for Modern Drama 52.3 (Fall 2009) Godot as Performativity,” Modern Drama 50.2 (Summer 2007) Candice Amich, “Bringing the Global Home: The S. E. Gontarski, “Reinventing Beckett,” Modern Drama 49.4 Commitment of Caryl Churchill’s The Skriker,” (Winter 2006) Modern Drama 50.3 (Fall 2007) Paul Kintzele, “Sacrifice, Inhibition, and Oedipal Fantasy in Krapp’s Elaine Aston, “But Not That: Caryl Churchill’s Political Last Tape,” Modern Drama 52.2 (Summer 2009) Shape Shifting at the Turn of the Millennium,” Modern Drama 56.2 (Summer 2013) Courtney Massie, “‘Something is taking its course’: Endgame’s Frustrated Musicality and the Evolution of Beckett’s Late Dramatic Daniel Jernigan, “Traps, Softcops, Blue Heart, and This Style,” Modern Drama 61.1 (Spring 2018) Is a Chair: Tracking Epistemological Upheaval in Caryl Churchill’s Shorter Plays,” Modern Drama 47.1 Jeff Porter, “Samuel Beckett and the Radiophonic Body: Beckett (Spring 2004) and the BBC,” Modern Drama 53.4 (Winter 2010) Irish Lavell, “Caryl Churchill’s The Hospital at the Time of the Revolution: Algerian Decolonization (Re) BERTOLT BRECHT viewed in a Protean Contemporary Context,” David Barnett, “Toward a Definition of Post-Brechtian Performance: Modern Drama 45.1 (Spring 2002) The Example of In the Jungle of the Cities at the Berliner Ensemble, 1971,” Modern Drama 54.3 (Fall 2011) ESSENTIAL READINGS ON ESSENTIAL Playwrights From the Past Twenty Years of Modern Drama LORRAINE HANSBERRY Kim Solga, “Blasted’s Hysteria: Rape, Realism, and the Robin Bernstein, “Inventing a Fishbowl: White Supremacy Thresholds of the Visible,” Modern Drama 50.3 (Fall 2007) and the Critical Reception of Lorraine Hansberry’s A Raisin in the Sun,” Modern Drama 42.1 (Spring 1999) ARTHUR MILLER Josephine Lee, “Bodies, Revolutions, and Magic: Cultural Debra Caplan, “‘Attention Must Be Paid’: Death of a Nationalism and Racial Fetishism,” Modern Drama 44.1 Salesman’s Counter-Adapted Yiddish Homecoming,” (Spring 2001) Modern Drama 58.2 (Summer 2015) Kristin L. Matthews, “The Politics of ‘Home’ in Lorraine Grant Gosizk, “The Banality of Addiction: Arthur Miller Hansberry’s A Raisin in the Sun,” Modern Drama 51.4 and Complicity,” Modern Drama 61.2 (Summer 2018) (Winter 2008) Terry Otten, “Broken Glass: Fifty Years Forward to the Past,” Sarah Orem, “Signifyin(g) When Vexed: Black Feminist Modern Drama 59.3 (Fall 2016) Revision, Anger, and A Raisin in the Sun,” Modern Drama 60.2 (Summer 2017) Andrea Most, “Opening the Windshield: Death of a Salesman and Theatrical Liberalism,” Aaron C. Thomas, “Watching A Raisin in the Sun and Seeing Modern Drama 50.4 (Winter 2007) Red,” Modern Drama 58.4 (Winter 2015) Kevin Riordan, “Salesman in Abu Dhabi: The Geopathology of Objects,” Modern Drama 57.3 (Fall 2014) HENRIK IBSEN Asbjørn Aarseth, “Ibsen and Darwin: A Reading of The SUZAN-LORI PARKS Wild Duck,” Modern Drama 48.1 (Spring 2005) Heidi R. Bean, “Learning from the Dramaturg: Suzan-Lori Atle Kittang, “Ibsen, Heroism, and the Uncanny,” Parks’s The America Play in the Literature Classroom,” Modern Drama 49.3 (Fall 2006) Modern Drama 58.3 (Fall 2015) Toril Moi, “‘First and Foremost a Human Being’: Idealism, James Frieze, “Imperceptible Mutabilities in the Third Theatre, and Gender in A Doll’s House,” Modern Drama 49.3 Kingdom: Suzan-Lori Parks and the Shared Struggle to (Fall 2006) Perceive,” Modern Drama 41.4 (Winter 1998) Alexis Soloski, “‘The Great Imitator’: Staging Syphilis in Greg Miller, “The Bottom of Desire in Suzan-Lori Parks’s A Doll House and Ghosts,” Venus,” Modern Drama 45.1 (Spring 2002) Modern Drama 56.3 (Fall 2013) Myka Tucker-Abramson, “The Money Shot: Economies Tanya Thresher, “‘Vinløv i håret’: The Relationship between of Sex, Guns, and Language in Topdog/Underdog,” Women, Language, and Power in Ibsen’s Hedda Gabler,” Modern Drama 50.1 (Spring 2007) Modern Drama 51.1 (Spring 2008) S. E. Wilmer, “Restaging the Nation: The Work of Suzan-Lori Parks,” Modern Drama 43.3 (Fall 2000) SARAH KANE Cristina Delgado-García, “Subversion, Refusal, and Contingency: The Transgression of Liberal-Humanist Subjectivity and Characterization in Sarah Kane’s Cleansed, Crave, and 4.48 Psychosis,” Modern Drama 55.2 (Summer 2012) Antje Diedrich, “‘Last in a Long Line of Literary Kleptomaniacs’: Intertextuality in Sarah Kane’s 4.48 Psychosis,” Modern Drama 56.3 (Fall 2013) Louise LePage, “Rethinking Sarah Kane’s Characters: A Human(ist) Form and Politics,” Modern Drama 57.2 (Summer 2014) Matthew Roberts, “Vanishing Acts: Sarah Kane’s Texts for Performance and Postdramatic Theatre,” Modern Drama 58.1 (Spring 2015) ESSENTIAL READINGS ON ESSENTIAL Playwrights From the Past Twenty Years of Modern Drama HAROLD PINTER OSCAR WILDE Varun Begley, “The Aesthetics of Refusal: Pinter among Sarah Balkin, “Realizing Personality in The Importance the Radicals,” Modern Drama 45.4 (Winter 2002) of Being Earnest,” Modern Drama 59.1 (Spring 2016) Basil Chiasson, “Harold Pinter’s ‘More Precisely Political’ Jeremy Lalonde, “A ‘Revolutionary Outrage’: The Dramas, or a Post-1983 Economy of Affect,” Modern Drama Importance of Being Earnest as Social Criticism,” 56.1 (Spring 2013) Modern Drama 48.4 (Winter 2005) David Krasner, Harold Pinter’s The Homecoming and Gregory Mackie, “The Function of Decorum at the Present Postmodern Jewish Philosophy,” Modern Drama 56.4 Time: Manners, Moral Language, and Modernity in ‘an (Winter 2013) Oscar Wilde Play,’” Modern Drama 52.2 (Summer 2009) Jacob Stulberg, “How (Not) to Write Broadcast Plays: S. I. Salamensky, “Oscar Wilde’s ‘Jewish Problem’: Pinter and the BBC,” Modern Drama 58.4 (Winter 2015) Salomé, the Ancient Hebrew and the Modern Jewess,” Stephen Watt, “Things, Voices, Events: Harold Pinter’s Modern Drama 55.2 (Summer 2012) Mountain Language as Testamental Text,” Modern Drama Michael R. Schiavi, “Wildean War: Politics of Fins-de-siècle 52.1 (Spring 2009) Spectatorship,” Modern Drama 47.3 (Fall 2004) GERTRUDE STEIN TENNESSEE WILLIAMS Chad Bennett, “‘Ladies’ Voices Give Pleasure’: Gossip, Douglas Arrell, “Homosexual Panic in Cat on a Hot Tin Roof,” Drama, and Gertrude Stein,” Modern Drama 53.3 (Fall 2010) Modern Drama 51.1 (Spring 2008) Joseph Cermatori, “Unsettling Gertrude Stein: On the Virginia H. Cope, “A Multiethnic Streetcar Named Desire: Citability of Baroque Gesture in Four Saints in Three Acts,” We’ve Had This Date from the Beginning,” Modern Drama Modern Drama 58.3 (Fall 2015) 57.4 (Winter 2014) Julia Fawcett, “Looking for the One Who Looks Like Some Allean Hale, “Not about Nightingales: Tennessee Williams as One: The Unmarked Subject(s) in Gertrude Stein’s A Play Social Activist,” Modern Drama 42.3 (Fall 1999) Called Not and Now,” Modern Drama 53.2 (Summer 2010) Sophie Maruéjouls-Koch, “Tennessee Williams’s Becoming- Johanna Frank, “Resonating Bodies and the Poetics of Clown,” Modern Drama 61.2 (Summer 2018) Aurality; Or, Gertrude Stein’s Theatre,” Annette J. Saddik, “‘Drowned in Rabelaisian Laughter’: Modern Drama 51.4 (Winter 2008) Germans as Grotesque Comic Figures in the Plays of Nick Salvato, “Uncloseting Drama: Gertrude Stein and the Tennessee Williams,” Modern Drama 55.3 (Fall 2012) Wooster Group,” Modern Drama 50.1 (Spring 2007) TOM STOPPARD Roberta Barker, “The Circle Game: Gender, Time, and ‘Revolution’ in Tom Stoppard’s The Coast of Utopia,” Modern Drama 48.4 (Winter 2005) Nandi Bhatia, “Reinventing India through ‘A quite witty pastiche’: Reading Tom Stoppard’s Indian Ink,” Modern Drama 52.2 (Summer 2009) Moonyoung Chung, “Stage as Hyperspace: Theatricality of Stoppard,” Modern Drama 48.4 (Winter 2005) Hanna Scolnicov, “‘Before’ and ‘After’ in Stoppard’s Arcadia,” Modern Drama 47.3 (Fall 2004) MODERN Phillip Zapkin, “Compromised Epistemologies: The Ethics of Historiographic Metatheatre in Tom Stoppard’s Travesties and Arcadia,” Modern Drama 59.3 (Fall 2016) Dramamoderndrama.utpjournals.press.