TDR: The Drama Review 1998: Vol 42 Index

7 Pages·1998·0.89 MB·English

TDR Volume 42 Index
T157: vol. 42, no. 1 (Spring 1998)
T158: vol. 42, no. 2 (Summer 1998)
T159: vol. 42, no. 3 (Fall 1998)
T160: vol. 42, no. 4 (Winter 1998)
By Author
Allain, Paul, “Suzuki Training” 1:66-89
Arrizon, Alicia, “Soldaderas and the Staging
of the Mexican Revolution” 1:9O0-112
Barba, Eugenio, “Sanjukta Panigrahi: 1944-1997” (In Memory) 2:5-8
Bell, John, “Times Square: Public Space Disneyfied” 1:24-25
Bell, John, “Disney’s Times Square:
The New American Community Theatre” 1:26-33
Bellour, Helene, and Samuel Kinser, “Amerindian Masking in
Trinidad Carnival: The House of Black Elk in San Fernando” 3:147-69
Boal, Augusto, “Legislative Theatre Update” 4:78-80
Boal, Augusto, “Symbolism in Munich” 4:86-87
Brandstetter, Gabriele, “Defigurative Choreography:
From Duchamp to William Forsythe” 4137-55
Brizzell, Cindy, with Jill Dolan, Tony Kushner,
Stephanie Marlin-Curiel, Peggy Phelan, Peg Rowan and
Ame Lindquist, Trish Whitehurst, and Julia Whitworth,
“ARTNOW: A (Stumbling) Movement towards Arts Advocacy” 1:122—58
Campbell, Mary Schmidt, “A New Mission for the NEA” (Comment) 4:5-9
Campbell, Patrick, and Helen Spackman, “With/out An-aesthetic:
The Terrible Beauty of Franko B.” : 4:56-74
Carlson, Marvin, “From Acting to Performance: Essays in Modernism
and Postmodernism by Philip Auslander; Unmaking Mimesis:
Essays on Feminism and Theater by Elin Diamond;
Mourning Sex: Performing Public Memories by Peggy Phelan”
(Book Review) 2:181-85
Chang, Carlisle, “Chinese in Trinidad Carnival” 3:213-19
Chatterjee, Sudipto, “Sombhu Mitra: 1914-1997” (In Memory) 1:8-11
Chatterjee, Sudipto, and Richard Schechner, “Augusto Boal,
City Councillor: Legislative Theatre and the Chamber
in the Streets” (Interview) 4:75-90
Cheng, Meiling, “Les Demoiselles d/L.A.:
Sacred Naked Nature Girls’ Untitled Flesh” 2:70-97
Cody, Gabrielle, “Woman, Man, Dog, Tree: Two Decades of
Intimate and Monumental Bodies in Pina Bausch’s Tanztheater” 2:1 15—31
Daly, Ann, “Dancing: A Letter from New York City” 1:1 §—23
Davis, C.B., “Reading the Ventriloquist’s Lips:
The Performance Genre Behind the Metaphor” 4:133-56
The Drama Review 42, 4 (T1160), Winter 1998. Copyright © 1998
New York University and the Massachusetts Institute of Technology.
172
TDR Volume 42 Index
T157: vol. 42, no. 1 (Spring 1998)
T158: vol. 42, no. 2 (Summer 1998)
T159: vol. 42, no. 3 (Fall 1998)
T160: vol. 42, no. 4 (Winter 1998)
By Author
Allain, Paul, “Suzuki Training” 1:66-89
Arrizon, Alicia, “Soldaderas and the Staging
of the Mexican Revolution” 1:9O0-112
Barba, Eugenio, “Sanjukta Panigrahi: 1944-1997” (In Memory) 2:5-8
Bell, John, “Times Square: Public Space Disneyfied” 1:24-25
Bell, John, “Disney’s Times Square:
The New American Community Theatre” 1:26-33
Bellour, Helene, and Samuel Kinser, “Amerindian Masking in
Trinidad Carnival: The House of Black Elk in San Fernando” 3:147-69
Boal, Augusto, “Legislative Theatre Update” 4:78-80
Boal, Augusto, “Symbolism in Munich” 4:86-87
Brandstetter, Gabriele, “Defigurative Choreography:
From Duchamp to William Forsythe” 4137-55
Brizzell, Cindy, with Jill Dolan, Tony Kushner,
Stephanie Marlin-Curiel, Peggy Phelan, Peg Rowan and
Ame Lindquist, Trish Whitehurst, and Julia Whitworth,
“ARTNOW: A (Stumbling) Movement towards Arts Advocacy” 1:122—58
Campbell, Mary Schmidt, “A New Mission for the NEA” (Comment) 4:5-9
Campbell, Patrick, and Helen Spackman, “With/out An-aesthetic:
The Terrible Beauty of Franko B.” : 4:56-74
Carlson, Marvin, “From Acting to Performance: Essays in Modernism
and Postmodernism by Philip Auslander; Unmaking Mimesis:
Essays on Feminism and Theater by Elin Diamond;
Mourning Sex: Performing Public Memories by Peggy Phelan”
(Book Review) 2:181-85
Chang, Carlisle, “Chinese in Trinidad Carnival” 3:213-19
Chatterjee, Sudipto, “Sombhu Mitra: 1914-1997” (In Memory) 1:8-11
Chatterjee, Sudipto, and Richard Schechner, “Augusto Boal,
City Councillor: Legislative Theatre and the Chamber
in the Streets” (Interview) 4:75-90
Cheng, Meiling, “Les Demoiselles d/L.A.:
Sacred Naked Nature Girls’ Untitled Flesh” 2:70-97
Cody, Gabrielle, “Woman, Man, Dog, Tree: Two Decades of
Intimate and Monumental Bodies in Pina Bausch’s Tanztheater” 2:1 15—31
Daly, Ann, “Dancing: A Letter from New York City” 1:1 §—23
Davis, C.B., “Reading the Ventriloquist’s Lips:
The Performance Genre Behind the Metaphor” 4:133-56
The Drama Review 42, 4 (T1160), Winter 1998. Copyright © 1998
New York University and the Massachusetts Institute of Technology.
172
173
Delano, Pablo, “Images of Trinidad: Carnival 1997” (Photographs) 3:74-81
Dickinson, Joan, with Dawn Mallozzi and Iris Moore,
“Hunter’s Moon and Flower’ (Performance Texts) 4:14-36
Elder, J.D., “Cannes Bralées” 3:38-43
Edwards, Emily D., “Firewalking: A Contemporary Ritual
and Transformation” 2:98-114
Foreman, Richard, “Program Notes on Pearls for Pigs” 2:157-S9
Gay, Derek, “A Brief History of the Steelpan” 3:64-65
Grady, Sharon, “The Twentieth-Century Performance Reader
by Michael Huxley; Performance: A Critical Introduction
by Marvin Carlson” (Book Review) 4:161-65
Hall, Tony, “‘They Want to See George Band’: Tobago Mas
According to George Leacock” (Interview) 3:44-$3
Hanna, Judith Lynne, “Undressing the First Amendment
and Corsetting the Striptease Dancer” 2:38-69
Harris, Max, “The Impotence of Dragons: Playing Devil
in the Trinidad Carnival” 3:108—23
Hernandez, Eddie, “Carnival and the Community in Tobago” 3:48-49
Honoré, Brian, “The Midnight Robber: Master of Metaphor,
Baron of Bombast” 3:124-31
Jackson, Shannon, “On Performing White,
On Writing Performance” 1:49-65
Jakovljevic, Branislav, “Arrested Voices: Resurrecting the Disappeared
Writers of the Soviet Regime by Vitaly Shentalinsky”
(Book Review) 4:1§9-61
Johnson, Kim, “Notes on Pans” 3:61-73
Kinser, Samuel, and Helene Bellour, “Amerindian Masking in
Trinidad Carnival: The House of Black Elk in San Fernando” 3:147-69
Kirshenblatt-Gimblett, Barbara, “The Ethnographic Burlesque” 2:175§—80
Kubiak, Anthony, “Splitting the Difference: Performance and
Its Double in American Culture” 4:91-114
Liepe-Levinson, Katherine, “Striptease: Desire, Mimetic Jeopardy,
and Performing Spectators” 2:9-37
Liverpool, Hollis Urban, “Origins of Rituals and Customs
in the Trinidad Carnival: African or European?” 3:24-37
Lovelace, Earl, “The Emancipation-Jouvay Tradition and the
Almost Loss of Pan” 3:54-60
Martin, Carol, “Trinidad Carnival Glossary” 3:220-35§
Pauka, Kirstin, “The Daughters Take Over?: Female Performers
in Randai Theatre” 1:113—-21
Reinelt, Janelle, “The Politics of Alternative Theatre in Britain,
1968-1990: The Case of 7:84 by Maria DiCenzo”
(Book Review) 4:1$7-S9
Richards, Sandra, “Digging the Africanist Presence in American
Performance: Dance and Other Contexts by Brenda Dixon Gottschild;
174 Index
Steppin’ on the Blues: The Visible Rhythms ofA frican American Dance
by Jacqui Malone” (Book Review) 1:164-68
Riggio, Milla C., “Resistance and Identity: Carnival
in Trinidad and Tobago” 3:7-23
Riggio, Milla C., with an introduction by John Cupid,
“Geraldo Andrew Vieira: Making Mas” (Interview) 3:194—202
Riggio, Milla C., and Richard Schechner, “Peter Minshall:
A Voice to Add to the Song of the Universe” (Interview) 3:170-93
Rohlehr, Gordon, “‘We Getting the Kaiso That We Deserve’:
Calypso and the World Music Market” 3:82-95
Rossi, Roberto, “Times Square and Potsdamer Platz: Packaging
Development As Tourism” 1:43—-48
Saivetz, Deborah, “An Event in Space: The Integration of Acting
and Design in the Theatre of JoAnne Akalaitis” 2:132-56
Sankeralli, Burton, “Indian Presence in Carnival” 3:203-12
Scheeder, Louis, “Moving Toward Life: Five Decades of
Transformational Dance by Anna Halprin, edited
by Rachel Kaplan” (Book Review) 4:165—66
Schechner, Richard, “ARTWHEN?” (Comment) 1:5-7
Schechner, Richard, and Sudipto Chatterjee, “Augusto Boal,
City Councillor: Legislative Theatre and the Chamber
in the Streets” (Interview) 4:165—66
Schechner, Richard, and Milla C. Riggio, “Peter Minshall:
A Voice to Add to the Song of the Universe” (Interview) 3:170-93
Spackman, Helen, and Patrick Campbell, “With/out An-aesthetic:
The Terrible Beauty of Franko B.” 4:56-74
Stegassy, Ruth, “John Cupid: We Have Been Called Carnival People”
(Interview) 3:96-107
Sussman, Mark, “New York’s Facelift” 1:34—42
Taylor, Diana, “Fascism and Theatre: Comparative Studies on the Aesthetics
and Politics of Performance in Europe, 1925-1945 edited by Giinter
Berghaus; Imperialism and Theatre: Essays on World Theatre, Drama
and Performance edited by J. Ellen Gainor” (Book Review) 1:1$9-63
Taylor, Diana, “A Savage Performance: Guillermo Goémez-Pena
and Coco Fusco’s ‘Couple in the Cage’” [160-75
Walsh, Martin W., “Jouvay Mornin’ with the Merry Darceuils:
A Small Neighborhood Band on Carnival Morning” 3:132—46
Williams, David, “Performance and Cultural Politics edited by
Elin Diamond” (Book Review) 4:166-68
By Title
“Arrested Voices: Resurrecting the Disappeared Writers of the Soviet
Regime by Vitaly Shentalinsky” (Book Review),
Branislav Jakovljevic 4:1§9-61
“Amerindian Masking in Trinidad Carnival: The House of Black
Elk in San Fernando,” Helene Bellour and Samuel Kinser 3:147-69
“ARTNOW: A (Stumbling) Movement towards Arts Advocacy,”
Cindy Brizzell, with Jill Dolan, Tony Kushner, Stephanie
Marlin-Curiel, Peggy Phelan, Peg Rowan and Arne Lindquist,
Trish Whitehurst, and Julia Whitworth 7122-58
Index 175
“ARTWHEN?” (Comment), Richard Schechner
“Augusto Boal, City Councillor: Legislative Theatre and the
Chamber in the Streets” (Interview), Richard Schechner
and Sudipto Chatterjee 4:75-90
“Brief History of the Steelpan, A,” Derek Gay 3:64-65
“Cannes Brulées,” J.D. Elder 3:38-43
“Carnival and the Community in Tobago,” Eddie Hernandez 3:48-49
“Chinese in Trinidad Carnival,” Carlisle Chang 3:213-19
“Dancing: A Letter from New York City,” Ann Daly 1:1§—23
“Daughters Take Over?: Female Performers in Randai Theatre,
The,” Kirstin Pauka 1:113-21
“Defigurative Choreography: From Duchamp to William Forsythe,”
Gabriele Brandstetter 4:37-55
“Digging the Africanist Presence in American Performance: Dance and
Other Contexts by Brenda Dixon Gottschild; Steppin’ on the Blues:
The Visible Rhythms ofA frican American Dance by Jacqui Malone”
(Book Review), Sandra Richards 1:164-68
“Disney's Times Square: The New American Community Theatre,”
John Bell 1:26—-33
“Emancipation-Jouvay Tradition and the Almost Loss of Pan, The,”
Earl Lovelace 3154-60
“Ethnographic Burlesque, The,” Barbara Kirshenblatt-Gimblett 2:175—-80
“Event in Space: The Integration of Acting and Design in the
Theatre of JoAnne Akalaitis, An,” Deborah Saivetz 2:132-$6
“Fascism and Theatre: Comparative Studies on the Aesthetics and Politics
of Performance in Europe, 1925-1945 edited by Giinter Berghaus;
Imperialism and Theatre: Essays on World Theatre, Drama and
Performance edited by J. Ellen Gainor” (Book Review),
Diana Taylor 1159-63
“Firewalking: A Contemporary Ritual and Transformation,”
Emily D. Edwards :98-114
“From Acting to Performance: Essays in Modernism and Postmodernism
by Philip Auslander; Unmaking Mimesis: Essays on Feminism
and Theater by Elin Diamond; Mourning Sex: Performing Public
Memories by Peggy Phelan” (Book Review), Marvin Carlson 1181-85
“Geraldo Andrew Vieira: Making Mas” (Interview), Milla C. Riggio,
with an introduction by John Cupid 3:194-202
“Hunter’s Moon and Flower’ (Performance Texts), Joan Dickinson,
with Dawn Mallozzi and Iris Moore 4114-36
“Images of Trinidad: Carnival 1997” (Photographs), Pablo Delano 3:74-81
“Impotence of Dragons: Playing Devil in the Trinidad Carnival,
The,” Max Harris 3:108—23
“Indian Presence in Carnival,” Burton Sankeralli 3:203-12
“John Cupid: We Have Been Called Carnival People” (Interview),
Ruth Stegassy 3:96-107
“Jouvay Mornin’ with the Merry Darceuils: A Small Neighborhood
Band on Carnival Morning,” Martin W. Walsh 3:132-46
176 Index
“Legislative Theatre Update,” Augusto Boal 4:75-90
“Les Demoiselles d/L.A.: Sacred Naked Nature Girls’ Untitled Flesh,”
Meiling Cheng 2:70-97
“Midnight Robber: Master of Metaphor, Baron of Bombast,
The,” Brian Honoré 3:124-31
“Moving Toward Life: Five Decades of Transformational Dance
by Anna Halprin, edited by Rachel Kaplan” (Book Review),
Louis Scheeder 4:165—-66
“New York’s Facelift,” Mark Sussman 1:34—42
“New Mission for the NEA, A” (Comment),
Mary Schmidt Campbell 4:5-9
“Notes on Pans,” Kim Johnson 3:61-73
“Origins of Rituals and Customs in the Trinidad Carnival:
African or European?,” Hollis Urban Liverpool
“Politics ofA lternative Theatre in Britain, 1968—1990: The Case of7 :84,
The by Maria DiCenzo” (Book Review), Janelle Reinelt 4:1§7-S59
“Peter Minshall: A Voice to Add to the Song of the Universe”
(Interview), Richard Schechner and Milla C. Riggio 3:170-93
“Performance and Cultural Politics edited by Elin Diamond”
(Book Review), David Williams 4:161-65
“Program Notes on Pearlfso r Pigs,” Richard Foreman 2:1§7-S9
“Reading the Ventriloquist’s Lips: The Performance Genre
Behind the Metaphor,” C.B. Davis 4:133-56
“References” (Trinidad and Tobago Carnival Issue) 3:236-44
“Resistance and Identity: Carnival in Trinidad and Tobago,”
Milla C. Riggio 3:7-23
“Sanjukta Panigrahi: 1944-1997” (In Memory), Eugenio Barba :§-8
“Savage Performance: Guillermo Gémez-Pefia and Coco Fusco’s
‘Couple in the Cage,’ A,” Diana Taylor 2:160-75
“Soldaderas and the Staging of the Mexican Revolution,”
Alicia Arrizon 1:QO-112
“Sombhu Mitra: 1914-1997” (In Memory), Sudipto Chatterjee 1:8—11
“Splitting the Difference: Performance and Its Double in American
Culture,” Anthony Kubiak 4:91-114
“Striptease: Desire, Mimetic Jeopardy, and Performing Spectators,”
Katherine Liepe-Levinson 2:9-37
“Suzuki Training,” Paul Allain 1:66-89
“Symbolism in Munich,” Augusto Boal 4:75-90
“They Want to See George Band’: Tobago Mas According to
George Leacock” (Interview), Tony Hall 3:44-53
“Times Square and Potsdamer Platz: Packaging Development
As Tourism,” Roberto Rossi 1:43-48
“Times Square: Public Space DisneyfiedJ,o”hn Bell 1:24-25
“Trinidad Carnival Glossary,” Carol Martin 3:220-35
“Twentieth-Century Performance Reader, The by Michael Huxley;
Performance: A Critical Introduction by Marvin Carlson”
(Book Review), Sharon Grady 4:161-65
Index 177
“Undressing the First Amendment and Corsetting the
Striptease Dancer,” Judith Lynne Hanna 2:38-69
““We Getting the Kaiso That We Deserve’: Calypso and the
World Music Market,” Gordon Rohlehr 3:82-95
“With/out An-aesthetic: The Terrible Beauty of Franko B.,”
Patrick Campbell and Helen Spackman 4:56-74
“Woman, Man, Dog, Tree: Two Decades of Intimate and
Monumental Bodies in Pina Bausch’s Tanztheater,”
Gabrielle Cody