Elizabeth LeCompte co-founded The Wooster Group with like-minded pioneers in New York in 1975, leading and directing its collaborators as deaths, departures, and new arrivals have changed its composition and emphases over the decades, segueing into a world-wide uncertain present. Kate Valk joined in 1978, the last representative of The Wooster Group’s foundational period, apart from LeCompte herself

Exceptional in demonstrating the political engagement emerging in twenty-first-century performance is the corpus of the writer and director Milo Rau, whose practice is distinguished by its (re)meditation of the real. With detailed reference to Mitleid (2016) and La Reprise (2018), this article examines Rau’s self-reflexive strategies in (re)presenting testimony or an event as a means not of depicting

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better

Samuel Beckett’s Waiting for Godot has spawned several unauthorized sequel plays, which see Godot arrive on stage in 1960s Yugoslavia, 1980s Ireland, 1990s North America, and early 2000s Japan. The sequel play is a largely ignored phenomenon in literary scholarship, with the sequel form itself routinely dismissed as a derivative and inevitably disappointing text. Yet the sequel also re-situates and

Ivan Medenica here analyzes the cultural shift that the Belgrade International Theatre Festival (BITEF) experienced after 1989. From its beginnings in the late 1960s until the end of the1980s, BITEF was a representation of the dominant multicultural, modernist, and progressive paradigm of Yugoslavia’s cultural policy. This was not an unambiguous position. On the one hand, modernist values were imposed

ABSTRACT This paper explores the fields of actor training and music education in order to illuminate the historical and pedagogical connections between the work of Konstantin Stanislavski and Emile Jaques-Dalcroze. It identifies historical parallels between their artistic practices, including their dedication to rhythm and polyrhythm. It illustrates the ways in which their pedagogical paths crossed

ABSTRACT In this article, we are looking for ways of congruence between Konstantin Stanislavsky’s Method of Active Analysis and Nikolai Demidov’s School, theoretically observing similarities, while also concentrating on some major differences, such as the complete initial lack of given circumstances for études in Demidov or the inceptive use of improvised speech as opposed to the given text in Stanislavsky

FAITH D. ACKER teaches composition at Southeastern Louisiana University. Her monograph, First Readers of Shakespeare’s Sonnets, 1590–1790 (Routledge, 2020), combines book history, manuscript studies, and editorial theory to show how early public and private readings of Shakespeare’s Sonnets can and should expand our current critical examinations of these poems. Her newest project, tentatively titled

That many aduentures are incident to such as put themselues into the seruice on the Seas, I doubt not but is easily coniectured by all men, as wel such as haue with peril made triall therof. —Henry Roberts, Newes from the Leuane Seas (1594)11

Recent scholarship has done much to restore the reputation of John Benson, who published the 1640 Poems: Written by Wil. Shake-Speare. Gent., a readable but revised collection of Shakespeare’s shorter poems. Initially disparaged by Edmond Malone, a handful of Malone’s contemporaries, and many nineteenth- and twentieth-century scholars, Benson has been more recently contextualized by Sasha Roberts,

Shakespeare and the 99%: Literary Studies, the Profession, and the Production of Inequity. Edited by O’DairSharon and FranciscoTimothy. Switzerland: Palgrave Macmillan, 2019. Pp. xiii + 286.

Impressive Shakespeare: Identity, Authority and the Imprint in Shakespearean Drama. By NewmanHarry. New York: Routledge, 2019. Illus. Pp. xvi + 200.

ABSTRACT As countries moved to halt the spread of the COVID 19 pandemic in 2020 access to physical sites of learning was restricted, so teachers across diverse educational contexts were required to rapidly embrace different modes and combinations of delivery. With a desire to profile the voices of teacher experience, a number of educational researchers initiated a research project to examine the experiences

Abstract: This essay offers a formal and intellectual history of Black minstrelsy, the now-controversial theatrical practice from the 1870s to 1890s that was the most influential outlet for the development of African American performance culture before the twentieth century. Black minstrelsy canalized the aesthetic, ideological, and spatial dimensions of what the essay calls “The Black Below,” which

Abstract: This essay theorizes the architectural history of Ghana’s National Theatre Movement as the material instantiation of national culture. By attending to the architectural trajectory of the national theatre, it explores how the burgeoning state used the edifice to construct a national identity both rooted in a cultural past and representative of their aspirations for a national future by mobilizing

Abstract: This essay explores the problematics of contemporary political performance through the plays of Guillermo Calderón. In particular, it seeks to account for the ways that Calderón’s theatrical aesthetics emerge from his negotiations with the material circumstances and institutional supports that condition his work. Tracing the history of the theatrical field and cultural policy in Chile, the

Abstract: This essay explores the significance of choosing to look/away in the theatre by analyzing the spectacle of suffering in two interpretations of Hedda Gabler’s demise. It focuses on the suicide sequence at Cutting Ball Theater in San Francisco, directed by Yury Urnov, and compares it with a secondary example: Ivo van Hove's interpretation of the same sequence at the National Theatre, London

Abstract: An intriguing, previously uncommented upon detail from the theatre archives suggests that US vaudeville star Josephine Gassman may have had New Zealand children performing in her “pickaninny chorus” in 1912: a description of the child performers as “New Zealanders.” Could these be Māori children? If not, why include such a detail? What are the cultural and performance studies implications

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Last Gasp (WFH) by Peggy Shaw and Lois Weaver Heidi Łucja Liedke LAST GASP (WFH). Written and performed by Peggy Shaw and Lois Weaver. Directed by Lois Weaver. Movement by Morgan Thorson. Video design and editing by Nao Nagai. Sound design by Vivian Stoll. La MaMa Experimental Theatre Club, New York City. Streamed, December

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Seagull on the Sims 4 by Celine Song Alisa Zhulina THE SEAGULL ON THE SIMS 4. Adapted from Anton Chekhov. Written and performed by Celine Song. New York Theatre Workshop, New York City. Livestreamed, October 27–28, 2020. The Russian writer and doctor Anton Chekhov lived a life marked by infectious diseases and health crises

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Seven Deadly Sins by Hilary Bettis et al. Horacio Sierra SEVEN DEADLY SINS. By Hilary Bettis, Nilo Cruz, Moisés Kaufman, Rogelio Martinez, Dael Orlandersmith, Carmen Pelaez, and Aurin Squire. Directed by Michel Hausmann. 1100 Block of Lincoln Road, Miami Beach. December 4, 2020. On a day when the US Centers for Disease Control

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Under Presents: The Tempest by William Shakespeare Alicia Corts THE UNDER PRESENTS: THE TEMPEST. By William Shakespeare. Directed by Tara Ahmadinejad. Tender Claws and PieHole, The Under Presents app for the Oculus Quest, Virtual. July 26, 2020. While several companies have experimented with virtual reality (VR) performance

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Fannie Lou Hamer, Speak On It! by Cheryl L. West Chloe Johnston FANNIE LOU HAMER, SPEAK ON IT! By Cheryl L. West. Directed by Henry Godinez. Goodman Theatre, Chicago. October 6, 2020. The audience arrived at the performance to find the lawn cordoned off into separate sections. People sat on blankets and lawn chairs facing

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Sex and Consequences by Isabella Rossellini Shelby Brewster SEX AND CONSEQUENCES. Created and performed by Isabella Rossellini. Directed by Paul Magid. Livestreamed, October 18, 2020. In Isabella Rossellini’s short film “Praying Mantis,” the actress dons a green bodysuit with extra legs and wings attached. She describes her

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Enrich Festival Winter Phong ENRICH FESTIVAL. Herts Inclusive Theatre, Watford, UK. Online, September 5–6, 2020. Even before the COVID-19 pandemic, theatre companies sought ways to engage persons with learning and cognitive disabilities. Companies have mainly focused on audience initiatives relying upon relaxed performances

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: We’re Gonna Die by Young Jean Lee Benjamin Gillespie WE’RE GONNA DIE. By Young Jean Lee. Directed and choreographed by Raja Feather Kelly. Second Stage Theater, New York City. February 12, 2020. “No one is immune from tragedy.” Perhaps there is no other moment in recent history where this sentiment would ring as true. As it

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Wolves by Sarah DeLappe Jared Strange THE WOLVES. By Sarah DeLappe. Directed by Nell Bang-Jensen. Philadelphia Theatre Company, Philadelphia. Livestreamed, December 14, 2020. There were times when Philadelphia Theatre Company’s (PTC’s) The Wolves could be quite overwhelming. The production was streamed into homes everywhere

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: What the Constitution Means to Me by Heidi Schreck Natka Bianchini WHAT THE CONSTITUTION MEANS TO ME. By Heidi Schreck. Directed by Marielle Heller. Amazon Prime Video, October 16, 2020. What the Constitution Means to Me, Heidi Schreck’s mostly solo show about her experience as a teenager giving speeches on the US Constitution

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Shakespeare and the Politics of Nostalgia: Negotiating the Memory of Elizabeth I on the Jacobean Stage by Yuichi Tsukada Kavita Mudan Finn SHAKESPEARE AND THE POLITICS OF NOSTALGIA: NEGOTIATING THE MEMORY OF ELIZABETH I ON THE JACOBEAN STAGE. By Yuichi Tsukada. London: Bloomsbury Arden Shakespeare, 2019; pp. 232. It is generally

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Mixed Faith and Shared Feeling: Theater in Post-Reformation London by Musa Gurnis Chloe Kathleen Preedy MIXED FAITH AND SHARED FEELING: THEATER IN POST-REFORMATION LONDON. By Musa Gurnis. Philadelphia: University of Pennsylvania Press, 2018; pp. 272. In Mixed Faith and Shared Feeling: Theater in Post-Reformation London, Musa

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Interchangeable Parts: Acting, Industry, and Technology in US Theater by Victor Holtcamp Christopher Grobe INTERCHANGEABLE PARTS: ACTING, INDUSTRY, AND TECHNOLOGY IN US THEATER. By Victor Holtcamp. Theater: Theory/Text/Performance series. Ann Arbor: University of Michigan Press, 2019; pp. 360. Scholarly monographs on acting

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Performing Dream Homes: Theater and the Spatial Politics of the Domestic Sphere ed. by Emily Klein, Jennifer-Scott Mobley, and Jill Stevenson Dorothy Chansky PERFORMING DREAM HOMES: THEATER AND THE SPATIAL POLITICS OF THE DOMESTIC SPHERE. Edited by Emily Klein, Jennifer-Scott Mobley, and Jill Stevenson. Cham, Switzerland:

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Theatre of Thomas Kilroy: No Absolutes by José Lanters Julieann Veronica Ulin THE THEATRE OF THOMAS KILROY: NO ABSOLUTES. By José Lanters. Cork: Cork University Press, 2018; pp. 288. When Thomas Kilroy’s The Death and Resurrection of Mr. Roche premiered at the Dublin Theatre Festival in 1968, it was identified by one reviewer

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Shakespeare in the Theatre: The National Theatre, 1963–1975: Olivier and Hall by Robert Shaughnessy Jennifer Barnes SHAKESPEARE IN THE THEATRE: THE NATIONAL THEATRE, 1963–1975: OLIVIER AND HALL. By Robert Shaughnessy. Shakespeare in the Theatre series. London: Bloomsbury Arden Shakespeare, 2018; pp. 264. Robert Shaughnessy’s

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: America in the Round: Capital, Race, and Nation at Washington, DC’s Arena Stage by Donatella Galella Harvey Young AMERICA IN THE ROUND: CAPITAL, RACE, AND NATION AT WASHINGTON, DC’S ARENA STAGE. By Donatella Galella. Studies in Theatre History and Culture series. Iowa City: University of Iowa Press, 2019; pp. 314. There are

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Transgenerational Remembrance: Performance and the Asia-Pacific War in Contemporary Japan by Jessica Nakamura David Jortner TRANSGENERATIONAL REMEMBRANCE: PERFORMANCE AND THE ASIA-PACIFIC WAR IN CONTEMPORARY JAPAN. By Jessica Nakamura. Performance Works series. Evanston, IL: Northwestern University Press, 2020; pp. 240. Perhaps

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Witness Onstage: Documentary Theatre in Twenty-First-Century Russia by Molly Flynn Marc A. Robinson WITNESS ONSTAGE: DOCUMENTARY THEATRE IN TWENTY-FIRST-CENTURY RUSSIA. By Molly Flynn. Theatre: Theory– Practice–Performance series. Manchester: Manchester University Press, 2019; pp. 200. The appearance of this book is a welcome

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Nomadic Theatre: Mobilizing Theory and Practice on the European Stage by Liesbeth Groot Nibbelink Silvija Jestrovic NOMADIC THEATRE: MOBILIZING THEORY AND PRACTICE ON THE EUROPEAN STAGE. By Liesbeth Groot Nibbelink. Thinking through Theatre series. London: Bloomsbury Methuen Drama, 2019; pp. 224. Liesbeth Groot Nibbelink argues

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Performance Constellations: Networks of Protest and Activism in Latin America by Marcela A. Fuentes Gad Guterman PERFORMANCE CONSTELLATIONS: NETWORKS OF PROTEST AND ACTIVISM IN LATIN AMERICA. By Marcela A. Fuentes. Theater: Theory/Text/Performance series. Ann Arbor: University of Michigan Press, 2019; pp. 178. Performance

(2021). Obituary: Christine Sinclair 1957-2020. NJ. Ahead of Print.

(2021). Obituary- Philip Taylor. NJ. Ahead of Print.

In lieu of an abstract, here is a brief excerpt of the content: Time Remembered Elizabeth R. Wright Omnia regit tempus This is the fundamental law of the comedia nueva, in Marc Vitse's enduring formulation of dramaturgy (275).1 It took on new significance in 2020, a year which the global pandemic that is still raging in too many parts of the world changed our shared sense of time, whether lived as

In lieu of an abstract, here is a brief excerpt of the content: Trevor J. Dadson, In Memoriam Santiago Martínez Hernández Qué colmado de pesarpasa el tiempo y nunca para,mas si él no pasara,¿quién le pudiera pasar? —Diego de Silva y Mendoza, Conde de Salinas,Obra completa I. Poesía desconocida,editado por Trevor J. Dadson, Real Academia Española, 2016, p. 55. CON UNA EXTRAÑA MEZCLA DE PESADUMBRE y

Abstract: This article examines the presence of the unclothed body in the comedia nueva, both when it appears on stage and when it is referred to off stage. It begins with a brief examination of what desnudez actually meant in practical terms in the corral theaters (and moralists' responses to states of undress). The study goes on to analyze in more detail some of the main implications and resonances

Abstract: In Helena Pimenta's production of Lope de Vega's El castigo sin venganza (1631) with the Compañía Nacional de Teatro Clásico (CNTC, 2018–19), a massive mirror presided literally in the created palace space on stage, implicating all the characters and even the audience. This mirror was responsive as a dramatic character, as it were, constituting the central axis—a main protagonist—of this

Abstract: This study delves deeper into the question of intertextuality, rewriting, and revision with reference to a series of comedias by Pedro Calderón de la Barca—El hombre pobre todo es trazas (1627), El secreto a voces (1642), and Los tres mayores prodigios (1636)—that engage the literary tradition which stems from the questioni d'amore of the book 4 of Boccaccio's Filocolo. Each of these comedias

Abstract: Calderón's comedy Dar tiempo al tiempo revolves around questions of alleged unfaithfulness, disputed paternity, secret births, and the ensuing necessity to care for the baby. The motifs of pregnancy and birth supply the semantic raw material for jokes and figures of speech. They also dictate the unfolding of the plot in the sphere of servants. This essay closely analyzes textual elements

Abstract: This essay reconsiders the status of the loa to Pedro Calderón de la Barca's highly influential auto sacramental El gran teatro del mundo (ca. 1633–36). For the last century, it has been conventional among scholars to consider the loa inauthentic and as having been written by Francisco Bances Candamo. The article begins with an examination of the arguments for this assumption. The second

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: "The Spanish Element in Our Nationality": Spain and America at the World's Fairs and Centennial Celebrations, 1876–1915 by M. Elizabeth Boone Alisa Luxenberg M. Elizabeth Boone. "The Spanish Element in Our Nationality": Spain and America at the World's Fairs and Centennial Celebrations, 1876–1915. THE PENNSYLVANIA STATE UP

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Post/Colonialism and the Pursuit of Freedom in the Black Atlantic ed. by Jerome C. Branche Chantell Smith Limerick Post/Colonialism and the Pursuit of Freedom in the Black Atlantic. Edited by Jerome C. Branche. ROUTLEDGE, 2018. 294 PP. THIS VOLUME FEATURES AN INTERDISCIPLINARY collection of pieces on historical, cultural,

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: La aurora en Copacabana (una comedia sobre el Perú) by Pedro Calderón de la Barca Jéssica Castro Rivas Pedro Calderón de la Barca. La aurora en Copacabana (una comedia sobre el Perú). Edición crítica de José Elías Gutiérrez Meza. IBEROAMERICANA / VERVUERT, 2018. 338 PP. LA PUBLICACIÓN DE ESTA OBRA CALDERONIANA se inscribe

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Doce entremeses nuevos by Jerónimo de Cáncer Guillermo Gómez Sánchez-Ferrer Jerónimo de Cáncer. Doce entremeses nuevos. Estudio y edición crítica de Juan C. González Maya. IBEROAMERICANA / VERVUERT, 2019. 317 PP. LA AUSENCIA DE PUBLICACIONES que atendiesen de manera específica al teatro breve de Jerónimo de Cáncer, uno de

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Las reescrituras fílmicas de la comedia nueva. Un siglo en la gran pantalla by Alba Carmona Veronika Ryjik Alba Carmona. Las reescrituras fílmicas de la comedia nueva. Un siglo en la gran pantalla. PETER LANG, 2020. 244 PP. LA MAYORÍA DE LOS ESPECIALISTAS CONTEMPORÁNEOS en los estudios de adaptación coinciden en que el traslado

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Hispanic Baroque Ekphrasis: Góngora, Camargo, Sor Juana by Luis Castellví Laukamp Antonio J. Arraiza-Rivera Luis Castellví Laukamp. Hispanic Baroque Ekphrasis: Góngora, Camargo, Sor Juana. LEGENDA, 2020. 236 PP. HANDSOMELY ILLUSTRATED AND ENGAGINGLY written, the book under review analyzes the role of ekphrasis in Luis de Góngora's

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Force of Habit / La fuerza de la costumbre by Guillén de Castro Sarah Grunnah Guillén de Castro. The Force of Habit / La fuerza de la costumbre. Edited with Introduction and Notes by Melissa Reneé Machit. Translated by Kathleen Jeffs. LIVERPOOL UP, 2019. 382 PP. FOLLOWING A HANDFUL OF ENGLISH-LANGUAGE performances of Guillén

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Radicals in Exile: English Catholic Books during the Reign of Philip II by Freddy Cristóbal Domínguez Kelsey J. Ihinger Freddy Cristóbal Domínguez. Radicals in Exile: English Catholic Books during the Reign of Philip II. PENNSYLVANIA STATE UP, 2020. 264 PP. WHEN CONSIDERING ANGLO-SPANISH RELATIONS, the early modern historian

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Queen, Mother, and Stateswoman: Mariana of Austria and the Government of Spain by Silvia Z. Mitchell María Cristina Quintero Silvia Z. Mitchell Queen, Mother, and Stateswoman: Mariana of Austria and the Government of Spain. PENNSYLVANIA STATE UP, 2019. 312 PP. IN RECENT DECADES, scholars of early modern Spain have reclaimed

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Fantasmas de la ciencia española by Juan Pimentel Jaime Marroquín Arredondo Juan Pimentel. Fantasmas de la ciencia española. MARCIAL PONS, 2020. 416 PP. JUAN PIMENTEL PRESENTS US with a panoramic history of Spanish science, from the early sixteenth century to the present. Its leitmotif is an understanding of science as a ghostly

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Imperiofobia y leyenda negra: Roma, Rusia, Estados Unidos y el Imperio español by María Elvira Roca Barea, and: Imperiofilia y el populismo nacional-católico by José Luis Villacañas Duncan Wheeler María Elvira Roca Barea. Imperiofobia y leyenda negra: Roma, Rusia, Estados Unidos y el Imperio español. SIRUELA, 2016. 460 PP

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Lope de Vega: el verso y la vida by Antonio Sánchez Jiménez Marsha S. Collins Antonio Sánchez Jiménez. Lope de Vega: el verso y la vida. CÁTEDRA, 2018. 468 PP. BIOGRAPHERS OF LOPE DE VEGA (1562–1635) have always faced a daunting task. How can one encapsulate such a rich and varied life, so full of adventures, high and low