In this first book-length biography of Mercedes de Acosta, theatre historian Robert A. Schanke adroitly mines lost archival materials and mixes in his own interviews with de Acosta’s intimates to correct established myths and at last construct an accurate, detailed, and vibrant portrait of the flamboyantly uninhibited early-twentieth-century author, poet, and playwright.
Born to wealthy Spanish immigrants, Mercedes de Acosta (1893–1968) lived in opulence and traveled in the same social circles as the Astors and Vanderbilts. Introduced to the New York theater scene at an early age, her dual loves of performance and of women informed every aspect of her life thereafter. Alice B. Toklas’s observation, “Say what you will about Mercedes, she’s had the most important women in the twentieth century,” was well justified, as her romantic conquests included such internationally renowned beauties as Greta Garbo, Marlene Dietrich, Isadora Duncan, and Eva Le Gallienne as well as Alla Nazimova, Tamara Karsavina, Pola Negri, and Ona Munson.
More than a record of her personal life and infamous romances, this account offers the first analysis of the complete oeuvre of de Acosta’s literary works, including three volumes of poetry, two novels, two film scripts, and a dozen plays. Although only two of her plays were ever published during her lifetime, four of them were produced, featuring such stage luminaries as John Gielgud, Ralph Richardson, and Eva Le Gallienne. Critics praised her first volume of poetry, Moods, in 1919 and predicted her rise to literary fame, but the love of other women that fueled her writing also limited her opportunities to fulfill this destiny. Failing to achieve any lasting fame, she died in relative poverty at the age of seventy-five.
De Acosta lived her desires publicly with verve and vigor at a time when few others would dare, and for that, she paid the price of marginalized obscurity. Until now. With “That Furious Lesbian” Schanke at last establishes Mercedes de Acosta’s rightful place as a pioneer—and indeed a champion—in the early struggle for lesbian rights in this country.
Robert A. Schanke has edited a companion to this biography, Women in Turmoil: Six Plays by Mercedes de Acosta,also available from Southern Illinois University Press.
Long a symbol of American culture, the banjo actually originated in Africa before European-Americans adopted it. Karen Linn shows how the banjo--despite design innovations and several modernizing agendas--has failed to escape its image as a "half-barbaric" instrument symbolic of antimodernism and sentimentalism.
Caught in the morass of American racial attitudes and often used to express ambivalence toward modern industrial society, the banjo stood in opposition to the "official" values of rationalism, modernism, and belief in the beneficence of material progress. Linn uses popular literature, visual arts, advertisements, film, performance practices, instrument construction and decoration, and song lyrics to illustrate how notions about the banjo have changed.
Linn also traces the instrument from its African origins through the 1980s, alternating between themes of urban modernization and rural nostalgia. She examines the banjo fad of bourgeois Northerners during the late nineteenth century; the African-American banjo tradition and the commercially popular cultural image of the southern black banjo player; the banjo's use in ragtime and early jazz; and the image of the white Southerner and mountaineer as banjo player.
When the world descended into war in 1939, few European countries remained neutral; but of those that did, none provoked more controversy than Ireland.
Despite Winston Churchill's best efforts to the contrary, the Irish premier Eamon de Valera stuck determinedly to Ireland's right to remain outside a conflict in which it had no enemies. Accusations of betrayal and hypocrisy poisoned the media; legends of Nazi spies roaming the country depicted Ireland as a haven for Hitler's friends. Where previous histories of Ireland in the war years have focused on high politics, That Neutral Island mines deeper layers of experience. Sean O'Faolain, Kate O'Brien, Elizabeth Bowen, Flann O'Brien and Louis MacNeice are a handful of writers whose stories, letters, and diaries illuminate this small country as it suffered rationing, censorship, the threat of invasion, and a strange detachment from the war.
Clair Wills brings to life the atmosphere of a country forced largely to do without modern technology. She describes the work of those who recovered the bodies of British sailors and airmen from the sea. She unearths the motivations of thousands who left to join the British forces. And she shows how ordinary people struggled to make sense of the Nazi threat through the lens of antagonism to Britain, the former colonial power. She acutely targets the sleight-of-hand that hovers around the Irish definition of "neutrality."
Elvis Presley and Bill Haley. Sam Cooke and the Shirelles. The Crows and the Chords. American Bandstand and Motown. From its first rumblings in the outland alphabet soup of R&B and C&W, rock & roll music promised to change the world--and did it.
Combining social history with a treasure trove of trivia, Richard Aquila unleashes the excitement of rock's first decade and shows how the music reflected American life from the mid-1950s through the dawn of Beatlemania. His year-by-year timelines and a photo essay place the music in historical perspective by linking artists and their hits to the news stories, movies, TV shows, fads, and lifestyles. In addition, he provides a concise biographical dictionary of the performers who made the charts between 1954 and 1963, along with the label and chart position of each of their hit songs.
Listen to a short interview with James DawesHost: Chris Gondek | Producer: Heron & Crane
After the worst thing in the world happens, then what? What is left to the survivors, the witnesses, those who tried to help? What can we do to prevent more atrocities from happening in the future, and to stop the ones that are happening right now? That the World May Know tells the powerful and moving story of the successes and failures of the modern human rights movement. Drawing on firsthand accounts from fieldworkers around the world, the book gives a painfully clear picture of the human cost of confronting inhumanity in our day.
There is no dearth of such stories to tell, and James Dawes begins with those that emerged from the Rwandan genocide. Who, he asks, has the right to speak for the survivors and the dead, and how far does that right go? How are these stories used, and what does this tell us about our collective moral future? His inquiry takes us to a range of crises met by a broad array of human rights and humanitarian organizations. Here we see from inside the terrible stresses of human rights work, along with its curious seductions, and the myriad paradoxes and quandaries it presents.
With pathos, compassion, and a rare literary grace, this book interweaves personal stories, intellectual and political questions, art and aesthetics, and actual "news" to give us a compelling picture of humanity at its conflicted best, face-to-face with humanity at its worst.
A comprehensive historical study of the complete content and overall coherence of two and a half centuries of papal instructions that have variously aroused worldwide interest, scorn, fury, reaction, and consent. It provides the kind of analysis that concerned Roman Catholics, public officials, social ethicists, theologians, and students need. It is a textually inclusive and topically broad-gauged review of Catholic social teaching in its historical development, with a forthright assessment of its regrettable contradictions as well as of its valuable consistencies.
A work of natural and environmental history.
That Which Roots Us is a work of natural and environmental history that explores the origins of and resolutions to some of the United States’ environmental problems. Marion Dresner discusses the roots of Euro-American environmental exploitative action, starting with the environmental consequences of having treated Pacific Northwest forests as commodities. She shares her experiences visiting sites where animal-centered ice age culture changed to human-centered culture thousands of years ago with the advent of farming. The book explores the origins of the romantic philosophical movement, which arose out of the debilitating conditions of the industrial era. Those romantic attitudes toward nature inspired the twentieth-century preservation movement and America’s progressively modern conservation attitudes.
The book is centered around environmental issues in the Pacific Northwest, contrasting utilitarian views of nature with Native American practices of respect and reciprocity. The elements that make That Which Roots Us a truly unique and important contribution to environmental literature are the author’s personal recollections and interactions with the landscape. Ultimately, Dresner offers hope for a new stewardship of the land and a focus on science literacy and direct experience in the natural world as the most grounded way of knowing the planet.
Savoie considers the war of reform waged by the leaders of these major industrial countries. Reagan declared that he had come to Washington to “drain the swamp” of bureaucracy, and set up the Grace Commission to investigate the operation of the U.S. government. Thatcher and Mulroney were equally committed to reform and initiated wide-ranging changes. By the end of the 1990s, the changes were dramatic. Many governments operations had been privatized in all three countries, and new management techniques had been introduced. In Great Britain, one observer judged that the changes were historically as important as the collapse of Keynesian economics.
Is government now better in these countries, and was political leadership right in focusing on management of the bureaucracy as the villain? Savoie suggests that the reforms overlooked problems now urgently requiring attention and, at the same time, attempted to address non-existent problems. He combines theory and research based on sixty-two interviews, nearly all with members of the executive branch of the governments of Britain, Canada and the United States.
The vocabulary of the past is always intriguing, especially when it is no longer used in modern English. Many of the words and phrases that were popular in Victorian England may sound foreign today, but looking to original sources and texts can yield fascinating insight, especially when we see how vocabulary was pilloried by the satirists of the day.
In That’s the Ticket for Soup!, the renowned language expert David Crystal returns to the pages of Punch magazine, England’s widely read satirical publication. Crystal has pored through the pages of Punch between its first issue in 1841 and the death of Queen Victoria in 1901 and extracted the articles and cartoons that poked fun at the jargon of the day. Here we have Victorian high and low society, with its fashionable and unfashionable slang, its class awareness on display in the vocabulary of steam engines, motor cars, and other products of the Industrial Revolution. Then, as now, people had strong feelings about the flood of new words entering English. Swearing, new street names, and the many borrowings from French provoked continual irritation and mockery, as did the Americanisms increasingly encountered in the British press. In addition to these entertaining examples, Crystal includes commentary on the context of the times and informative glossaries. This original and amusing collection reveals how many present-day feelings about words can be traced to the satire of a century ago.
In the sparsely settled hills of Michigan's Upper Peninsula, winter's toughness is matched only by the animosity and affection of its inhabitants for each other and for the land that unnerves them. In The Long White, Sharon Dilworth evokes a place dominated by two great lakes whose power and ferocity influence the lives of every inhabitant. The particularities of place and character come together with the clarity and exactitude of a fresh snowfall that both veils and illuminates a landscape.
An epistemological diptych.
Plato, the great philosopher of Athens, was born in 427 BC. In early manhood an admirer of Socrates, he later founded the famous school of philosophy in the grove Academus. Much else recorded of his life is uncertain; that he left Athens for a time after Socrates’ execution is probable; that later he went to Cyrene, Egypt, and Sicily is possible; that he was wealthy is likely; that he was critical of “advanced” democracy is obvious. He lived to be 80 years old. Linguistic tests including those of computer science still try to establish the order of his extant philosophical dialogues, written in splendid prose and revealing Socrates’ mind fused with Plato’s thought.
In Laches, Charmides, and Lysis, Socrates and others discuss separate ethical conceptions. Protagoras, Ion, and Meno discuss whether righteousness can be taught. In Gorgias, Socrates is estranged from his city’s thought, and his fate is impending. The Apology (not a dialogue), Crito, Euthyphro, and the unforgettable Phaedo relate the trial and death of Socrates and propound the immortality of the soul. In the famous Symposium and Phaedrus, written when Socrates was still alive, we find the origin and meaning of love. Cratylus discusses the nature of language. The great masterpiece in ten books, the Republic, concerns righteousness (and involves education, equality of the sexes, the structure of society, and abolition of slavery). Of the six so-called dialectical dialogues Euthydemus deals with philosophy; metaphysical Parmenides is about general concepts and absolute being; Theaetetus reasons about the theory of knowledge. Of its sequels, Sophist deals with not-being; Politicus with good and bad statesmanship and governments; Philebus with what is good. The Timaeus seeks the origin of the visible universe out of abstract geometrical elements. The unfinished Critias treats of lost Atlantis. Unfinished also is Plato’s last work, Laws, a critical discussion of principles of law which Plato thought the Greeks might accept.
The Loeb Classical Library edition of Plato is in twelve volumes.
This original and insightful study explores the points at which theater and propaganda meet. Defining propaganda as a form of "activated ideology," George H. Szanto discusses the distortion of information that occurs in dramatic literature in its stage, film, and television forms.
Szanto analyzes the nature of "integration propaganda," which is designed to render the audience passive and to encourage the acceptance of the status quo, as opposed to "agitation propaganda," which aims to inspire the audience to action. In Szanto's view, most popular western theater is saturated, though usually not intentionally, with integration propaganda. The overall purpose of Theater and Propaganda is twofold: to analyze the nature of integration propaganda so that it becomes visible to western readers as a tool of the dominant class in society, and to examine the manner by which unself-conscious propagandistic methods have saturated dramatic presentation.
In discussing the importance of propaganda within and between technological states, the author examines the seminal work of Jacques Ellul. In this chapter he analyzes the function of integration propaganda in a relatively stable society. The following chapter defines and analyzes three theaters (in the sense of performance) of propaganda: the theater of agitation propaganda, of integration propaganda, and of dialectical propaganda. In this section he uses examples from a variety of plays, movies, and television commercials. In succeeding chapters Szanto discusses the role of integration propaganda in the medieval Wakefield mystery plays and the plays of Samuel Beckett. The appendix, "Contradiction and Demystification," provides a general model that suggests ways of breaking down and overcoming the propagandistic intentions of an artwork and discusses theater's possible role in this breakdown.
Randai, the popular folk theater tradition of the Minangkabau ethnic group in West Sumatra, has evolved to include influences of martial arts, storytelling, and folk songs. Theater and Martial Arts in West Sumatra describes the origin, development, and cultural background of randai and highlights two recent developments: the emergence of female performers and modern staging techniques.
This book also explores the indigenous martial arts form silek, a vital part of randai today. The strong presence of silek is illustrated in the martial focus of the stories that are told through randai, in its movement repertoire, and even in its costumes and musical accompaniment. As Kirstin Pauka shows, randai, firmly rooted in silek and Minangkabau tradition, is an intriguing mirror of the Minangkabau culture.
Theater and Social Change not only tracks the historical evolution of political theater but also explores the current state and future prospects of different modes, including agit-prop, demonstrations, solo performance, Augusto Boal’s Theater of the Oppressed, and community-based production. With such notable contributors as Anna Deavere Smith, Jonathan Kalb, Holly Hughes, and Tony Kushner, the issue offers a diverse assemblage of personal statements, conversations, photographs, interviews, and performance text.
Contributors include: Reverend Billy, Jan Cohen-Cruz, Arlene Goldbard, Sharon Green, Lani Guinier, Holly Hughes, Jonathan Kalb, Tony Kushner, Judith Malina, Robbie McCauley, John O'Neal, Claudia Orenstein, Bill Rauch, Julie Salverson, Anna Deavere Smith, Alisa Solomon, Roberta Uno
In Theater and Violence, through interviews, play excerpts, and full-length plays—including the first American publication of two major German playwrights and directors—theater artists offer their own narratives for humankind’s violent psychologies. One full-length play, Falk Richter’s Seven Seconds (In God We Trust), probes the mind of an American pilot moments before he releases a bomb on a city below. Another, René Pollesch’s 24 Hours Are Not a Day, humorously explores the ironies and pathologies of globalization after September 11. The issue also includes a commentary on the National Endowment for the Arts’ Shakespeare presentations for the U.S. military; interviews with Russian theater artists on the first anniversary of the Chechen rebels’ siege of a Moscow theater; and Jonathan Kalb’s powerful adaptation of Heiner Müller’s Mauser, set in Tikrit.
Contributors. Josh Fox, Gitta Honegger, Jonathan Kalb, Anna Kohler, James Leverett, Mark Lord, Marlene Norst, René Pollesch, Falk Richter, Yana Ross, Scott Saul, Tom Sellar, Catherine Sheehy, Robert Woodruff
The relationship between actors and spectators has been of perennial interest to playwrights. The Roman playwright Plautus (ca. 200 BCE) was particularly adept at manipulating this relationship. Plautus allowed his actors to acknowledge freely the illusion in which they were taking part, to elicit laughter through humorous asides and monologues, and simultaneously to flatter and tease the spectators.
These metatheatrical techniques are the focus of Timothy J. Moore's innovative study of the comedies of Plautus. The first part of the book examines Plautus' techniques in detail, while the second part explores how he used them in the plays Pseudolus, Amphitruo, Curculio, Truculentus, Casina, and Captivi. Moore shows that Plautus employed these dramatic devices not only to entertain his audience but also to satirize aspects of Roman society, such as shady business practices and extravagant spending on prostitutes, and to challenge his spectators' preconceptions about such issues as marriage and slavery. These findings forge new links between Roman comedy and the social and historical context of its performance.
For generations, fans and critics have characterized classic American radio drama as a “theater of the mind.” This book unpacks that characterization by recasting the radio play as an aesthetic object within its unique historical context. In Theater of the Mind, Neil Verma applies an array of critical methods to more than six thousand recordings to produce a vivid new account of radio drama from the Depression to the Cold War.
In this sweeping exploration of dramatic conventions, Verma investigates legendary dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis Cooper on key programs ranging from The Columbia Workshop, The Mercury Theater on the Air, and Cavalcade of America to Lights Out!, Suspense, and Dragnet to reveal how these programs promoted and evolved a series of models of the imagination.
With close readings of individual sound effects and charts of broad trends among formats, Verma not only gives us a new account of the most flourishing form of genre fiction in the mid-twentieth century but also presents a powerful case for the central place of the aesthetics of sound in the history of modern experience.
Greek drama has been subject to ongoing textual and historical interpretation, but surprisingly little scholarship has examined the people who composed the theater audiences in Athens. Typically, scholars have presupposed an audience of Athenian male citizens viewing dramas created exclusively for themselves—a model that reduces theater to little more than a medium for propaganda. Women's theater attendance remains controversial, and little attention has been paid to the social class and ethnicity of the spectators. Whose theater was it?
Producing the first book-length work on the subject, David Kawalko Roselli draws on archaeological and epigraphic evidence, economic and social history, performance studies, and ancient stories about the theater to offer a wide-ranging study that addresses the contested authority of audiences and their historical constitution. Space, money, the rise of the theater industry, and broader social forces emerge as key factors in this analysis. In repopulating audiences with foreigners, slaves, women, and the poor, this book challenges the basis of orthodox interpretations of Greek drama and places the politically and socially marginal at the heart of the theater. Featuring an analysis of the audiences of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander, Theater of the People brings to life perhaps the most powerful influence on the most prominent dramatic poets of their day.
In the aftermath of total war and unconditional surrender, Germans found themselves receiving instruction from their American occupiers. It was not a conventional education. In their effort to transform German national identity and convert a Nazi past into a democratic future, the Americans deployed what they perceived as the most powerful and convincing weapon-movies.
In a rigorous analysis of the American occupation of postwar Germany and the military’s use of “soft power,” Jennifer Fay considers how Hollywood films, including Ninotchka, Gaslight, and Stagecoach, influenced German culture and cinema. In this cinematic pedagogy, dark fantasies of American democracy and its history were unwittingly played out on-screen. Theaters of Occupation reveals how Germans responded to these education efforts and offers new insights about American exceptionalism and virtual democracy at the dawn of the cold war.
Fay’s innovative approach examines the culture of occupation not only as a phase in U.S.–German relations but as a distinct space with its own discrete cultural practices. As the American occupation of Germany has become a paradigm for more recent military operations, Fay argues that we must question its efficacy as a mechanism of cultural and political change.
Jennifer Fay is associate professor and codirector of film studies in the Department of English at Michigan State University.
Every year, millions of Americans visit planetariums and are captivated by their strikingly realistic portrayal of the night sky. Today, it is indeed difficult to imagine astronomy education without these magnificent celestial theaters. But projection planetariums, first developed in Germany, have been a part of American museum pedagogy only since the early twentieth century and were not widespread until the 1960s.
In this unique social history,former planetarium director and historian of science Jordan D. Marché II offers the first complete account of the community of individuals and institutions that, during the period between 1930 and 1970, made planetariums the popular teaching aids they are today. Marché addresses issues such as the role of gender and social developments within the planetarium community, institutional patronage, and the popularization of science. He reveals how, at different times, various groups, including financial donors, amateur scientists, and government officials, viewed the planetarium as an instrument through which they could shape public understanding and perceptions of astronomy and space science.
Offering an insightful, wide-ranging look into the origins of an institution that has fascinated millions, Theaters of Timeand Space brings new perspectives to how one educational community changed the cultural complexion of science, helped shape public attitudes toward the U.S. space program, and even contributed to policy decisions regarding allocations for future space research.
Taking to heart Thomas Heywood’s claim that plays “persuade men to humanity and good life, instruct them in civility and good manners, showing them the fruits of honesty, and the end of villainy,” Mark Bayer’s captivating new study argues that the early modern London theatre was an important community institution whose influence extended far beyond its economic, religious, educational, and entertainment contributions. Bayer concentrates not on the theatres where Shakespeare’s plays were performed but on two important amphitheatres, the Fortune and the Red Bull, that offer a more nuanced picture of the Jacobean playgoing industry. By looking at these playhouses, the plays they staged, their audiences, and the communities they served, he explores the local dimensions of playgoing.
When Theatre for Youth: Twelve Plays with Mature Themes was published in 1986, it met a need for plays that could help young people deal with some of the more difficult realities of life. Responding to the sweeping changes in society over the succeeding thirty years, Coleman A. Jennings and Gretta Berghammer have assembled a new collection of plays that reflects not only on themes such as aging, death and dying, friendship, courage, conformity, maturation, sexuality, and struggles with moral judgment but also on gender identity, poverty, diversity, and discrimination.
Theatre for Youth II: More Plays with Mature Themes presents twelve plays, nine of them new to this anthology, that offer a rich variety of original stories (The Tomato Plant Girl, The Arkansaw Bear, Super Cowgirl and Mighty Miracle), compelling adaptations (The Afternoon of the Elves, Broken Hearts, Courage!), historical drama (Mother Hicks, Johnny Tremain), diverse themes (La Ofrenda, The Transition of Doodle Pequeño), friendship (The Selfish Giant), and future societies (With Two Wings). As these plays explore some of the most challenging themes for today’s youth, including the difficulties of single parenthood, divorce, race relations, sexuality, and gender discrimination, they share messages fundamental to us all: open your imagination and dare to dream; embrace life; honor your personal passion, beliefs, and creativity; take a risk; and love with all your heart.
Since the beginning of the theatre-for-youth movement in the United States, the majority of plays written for children have been fairy tales. By the 1960s, however, encouraged by changes in social attitudes toward children, playwrights began to respond to a growing tendency on the parts of both parents and teachers to have children face, rather than avoid, the more difficult truths of existence. Thus children's dramatic literature was opened to new subjects, themes and characters previously considered unsuitable for the young audience.
Theatre for Youth seeks to identify and illustrate this trend by examining twelve plays that deal with mature themes: aging, death and dying, conformity, sexuality, divorce, moral culpability. The plays have been chosen not only for their mature content, but also for their professional integrity, the delicacy with which they handle their subject matter, and their respect for their intended audience.
A foreword by Jed H. Davis, an introduction and summary paragraphs for each play by Jennings and Berghammer, and a lengthy annotated list of suggested plays for further reading or viewing make this volume extremely useful both for directors of children's theatre and for teachers.
Theatre History Studies is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre.
THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text as well as SIRS.
THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text as well as SIRS.
Theatre History Studies is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre.
To mark the thirtieth anniversary of the Theatre History Studies journal, editor Rhona Justice-Malloy and the Mid-America Theatre Conference have collected a special-themed volume covering the past and present of African and African American theatre. Topics included range from modern theatrical trends and challenges in Zimbabwe and Kenya, and examining the history and long-range impact of Paul Robeson’s groundbreaking and troubled life and career, to gender issues in the work of Ghanaian playwright Efo Kodjo Mawugbe, and the ways that 19th-century American blackness was defined through Othello and Desdemona. This collection fills a vacancy in academic writing. Readers will enjoy it; academics can incorporate it into their curriculum; and students will find it helpful and illuminating.
THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text as well as SIRS
From published reviews
“This established annual is a major contribution to the scholarly analysis and historical documentation of international drama. Refereed, immaculately printed and illustrated . . . . The subject coverage ranges from the London season of 1883 to the influence of David Belasco on Eugene O’Neill.”—CHOICE
“International in scope but with an emphasis on American, British, and Continental theater, this fine academic journal includes seven to nine scholarly articles dealing with everything from Filipino theater during the Japanese occupation to numerous articles on Shakespearean production to American children’s theater. . . . an excellent addition for academic, university, and large public libraries.”—Magazines for Libraries, 6th Edition
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