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Passionate Amateurs tells a new story about modern theater: the story of a romantic attachment to theater’s potential to produce surprising experiences of human community. It begins with one of the first great plays of modern European theater—Chekhov’s Uncle Vanya in Moscow—and then crosses the 20th and 21st centuries to look at how its story plays out in Weimar Republic Berlin, in the Paris of the 1960s, and in a spectrum of contemporary performance in Europe and the United States. This is a work of historical materialist theater scholarship, which combines a materialism grounded in a socialist tradition of cultural studies with some of the insights developed in recent years by theorists of affect, and addresses some fundamental questions about the social function and political potential of theater within modern capitalism. Passionate Amateurs argues that theater in modern capitalism can help us think afresh about notions of work, time, and freedom. Its title concept is a theoretical and historical figure, someone whose work in theater is undertaken within capitalism, but motivated by a love that desires something different. In addition to its theoretical originality, it offers a significant new reading of a major Chekhov play, the most sustained scholarly engagement to date with Benjamin’s “Program for a Proletarian Children’s Theatre,” the first major consideration of Godard’s La chinoise as a “theatrical” work, and the first chapter-length discussion of the work of The Nature Theatre of Oklahoma, an American company rapidly gaining a profile in the European theater scene.

Passionate Amateurs contributes to the development of theater and performance studies in a way that moves beyond debates over the differences between theater and performance in order to tell a powerful, historically grounded story about what theater and performance are for in the modern world.

In the Yucatán, they never forgot Alma Reed. She arrived for the first time in 1923, on assignment for the New York Times Sunday Magazine to cover an archaeological survey of Mayan ruins. It was a contemporary Maya, however, who stole her heart. Felipe Carrillo Puerto, said to be descended from Mayan kings, had recently been elected governor of the Yucatán on a platform emphasizing egalitarian reforms and indigenous rights. The entrenched aristocracy was enraged; Reed was infatuated—as was Carrillo Puerto. He and Reed were engaged within months. Yet less than a year later—only eleven days before their intended wedding—Carrillo Puerto was assassinated. He had earned his place in the history books, but Reed had won a place in the hearts of Mexicans: the bolero "La Peregrina" remains one of the Yucatán's most famous ballads.

Alma Reed recovered from her tragic romance to lead a long, successful life. She eventually returned to Mexico, where her work in journalism, archaeology, and art earned her entry into the Orden del Aguila Azteca (Order of the Aztec Eagle). Her time with Carrillo Puerto, however, was the most intense of her life, and when she was encouraged (by Hollywood, especially) to write her autobiography, she began with that special period. Her manuscript, which disappeared immediately after her sudden death in 1966, mingled her legendary love affair with a biography of Carrillo Puerto and the political history of the Yucatán. As such, it has long been sought by scholars as well as romantics. In 2001, historian Michael Schuessler discovered the manuscript in an abandoned apartment in Mexico City. An absolutely compelling memoir, Peregrina restores Reed's place in Mexican history in her own words.

This is the first full-length study of the Symposium to be published in English, and one of the first English works on Plato to take its bearings by the dramatic form of the Platonic dialogue, a thesis that was regarded as heterodox at the time but which today is widely accepted by scholars of the most diverse standpoint. Rosen was also one of the first to study in detail the philosophical significance of the phenomenon of concrete human sexuality, as it is presented by Plato in the diverse characters of the main speakers in the dialogue. His analysis of the theoretical significance of pederasty in the dialogue was highly controversial at the time, but is today accepted as central to Plato's dramatic phenomenology of human existence.

Rosen discusses a variety of topics that had previously been neglected in the secondary literature, including the problem of the hybristic nature of the philosopher, the poetical dimension of Plato's conception of philosophy, and the theoretical implication of the difference between Platonic writing and Socratic conversation.