Table Of Content

TDR Volume 47 Index Spring 2 Summer Fall 2003 Winter By Author Abrams, : Joshua D., “A SpIl it Second of Parad:se edited by Nicky Childs and Jeni Walwin; Performing Processes: Creating Live Performance edited by Roberta Mock” (Book Review nett, Claudia, “Painting As Performance: Charlotte Salomon’s Life? or Theatre?” Bell, John, “Performance Studies in an Age of Terror” (Comment Bogad, Larry, “Facial Insufficiency: Political Street Performance in New York City and the Selective Enforcement of the 1845 Mask Law” (Critical Acts Brady, Sara, “A History of Irish The Morash” (Book Review Brehm, Katharine A., “Satanicide Carroll, Amy, “Incumbent upon Recombinant Hope: EDT’s Strike 1 Site, Strike a Pose” esare, T. Nikki, “The World after The Bomb” (Critical Acts haudhuri, Una, “Agitated States: Performance in the American Theater ruelty by Anthony Kubiak; Staging Consciousness: Theater Vaterialization of Mind by William W. Demastes” (Book Review onceison, Claire, “What's New ind Renewed— Onstage in China” (Critical Acts Cook, Sean, “Walking the Talk: Castillo Theatre of 2 Daly, Ann, “Imaging Her Erotics: Essays, Interviews, Projects by Carolee Schneeman; John Kelly by John Kelly” (Book Review) 3 Mavis, R.G., “We Won’t Pay! We Won’t Pay! And Other Plays: The Collected Plays of Dario Fo. Volume One by Dario Fo, translated by Ron Jenkins” Book Review ael, “A Haiku A Day’ iael, Guillermo Gomez-Pena, and Alexis McKee, “Re:group No homeland” (Critical Acts Emoff, Ron, “Direct-Current Recall in Madagascar” Finley, Karen, “Make Love Franko, Mark, “Majestic Drag: Monarchical Performativity and the King’s Body Theatrical” Friedman, Dan, “A Performance Community Onstage and on the Street: Castillo Theatre and Heiner Miiller’s Germania 3 Dance by Judy Vai “On-Line Simul Life Politics: A ussion with Ric on Staging Virtual Theatre: 1990s Part 1 Association” (Book i ved bl 1¢ ks ( orpus itional Stage edited by Leite! Book Review Anselm Jappe; Guy Debord ind Documents edited by fom McDonough’ Book Rev CW Patrick, “Strange Fr A Performance about Identity Karam, Raif, “The Taste of Bread Cheatrical E xperiences ind Lebanon” Karimi-Hakak, Mahmood re Freedom A Memoir of Censorship in Iran” Kirshenblatt-Gimblett, Bart dak Moments, Flashbulb Me mories Reflection jill, “Digital Zapatistas sen, Scott, “Resuscitati tinct I he Bac kbre eding of ric Animals at U.S. | ory Museums” iro! 1 “lack Gelber In Memory Randy, “W] 17 1 Exceptional Ex irt by Hans Abbin “Fema Sp sm by Susan A. Gle1 Book Review Alexis, Guillermo Gor Pena, and e-mael, “Re yroup nomeli land” (¢ lon f Cultures” (Comment Dokkyo University ( A | ’rison Theatre Progran “Not In l ting Visual History ine 1 olonial Fu O’Shea, Janet, “At Home Dancer TransnationaIln t As Pillai, Shanti, “Desis in the House Indian Am erican Youth Culture in Neu York Cit) | y Sunaina Marr Maira” (Book RL eview Poulton, Cody, “ 1 Kabuki Reader edited by Samuel | Leiter’ Book Review Raymond, Caroline, “Lloyd Richards: Reflections from the Playwrights’ Champion” Rosenthal, Cindy, “Follow-Up: New York’s Community Gardens” Letters, Etc Saddik, Annette j., “Rap’s Unruly Body: The Postmodern Performance of Black Male Identity on the American Stage Salmon, MaryGen, “Spiritual Survival in the Arctic: Atxam laligisniikangis of the Aleutian Islands’ Saltzman-Li, Katherine, “Performing Shakespeare in Japan dited by Minami Ryuta, lan Carruthers, and John Gillies Book Review Sant, Toni, “Suzuki Tadashi and the Shizuoka Theatre Company in New York” Schechner, Richard, “Joseph Chaikin: 1935—2003” (In Memory Schechner, Richard, “Robert Wilson and Fred Newman: A Dialogue on Politics and Therapy, Stillness and Vaudeville” Schechner, Richard, “ “Women’s Work’?” (Comment Seet, K.K., “ Theater and the Politics of Culture in Contemporary Singapore by William Peterson” (Book Review Smalec, Theresa, “ Yelena Gluzman’s I’m So Sorry for Everything” Critical Acts Stanley, N.J., “History As Theme Park: Reconfiguring the Human Journey in the Art of Theodora Skipitares” Taylor. Diana, “Bush’s Happy Performative "(Comment Toepfer, Karl, “One Hundred Years of Nakedness in Gf erman Performance” Wee, C.J. W.-I Creating High Culture in the Globalized Cultural Desert’ of Singapore’ * (Critical Acts Westcott, James, “Marina Abramovic’s The Ho use with the Ocear View: The View of the House from Some Drops in the Ocean” ( il Acts Winnacker, Suzanne, “Performing History: The itt rical1] RReepnr e sentatt PIS f the Past in Contemporary The atttrree bDy y Freddie Rokem” Book R| eview Anthony Kubiak; Staging Conscioust Theater and the Vaterialization of Mind by William W. Demastes” (Book Review), Una Chaudhuri t Home in the World?: The Bharatanatyam Dancer As Transnational Interpreter,” Janet O'Shea “Bush’s Happy Performative” Comment), Diana Taylor ‘The Consolation of Poetry,” Barbara Neri “Creating High Culture in the Globalized ‘Cultural Desert’ of Singapore” (Critical Acts), C.J.W.-L. Wee “A Day in the Lifeo f a Prison tre Program,” Lorraine Mollet “Democracy’s Performance,’ I Kenzie “ Desis in the House: Indian Ame n Youth Culture in New York City by Sunaina Marr Maira” (Book Review), Shanti Pillai 7 digit il Z ipatistas, Till Lane ‘Direct-Current Recalli n Madagascar,” Ron Emoft mael’s A Haiku A Day ts), Guillermo Gomez-Pena iled to Freedom: A Memoir « nsorship in Iran,”” Mahmood Karimi-Hakak ial Insufficiency: Politi t t rformance in New York ind the Selective Enfo ent of the 1545 Mask Law il Acts), Larry Be le: The Theatrical Roots of Modern Feminism by Susan Book Revie haron Mazer New York’s Con unity Gardens” (Letters, Et osenthal Debord and the Situation International: Ti ind Ty edited by Tom McDonough” Book Review , Branisla Jako tury of Japan Theatr 990s Part 1 and Part 2 edited by Japan Playwrights Associatio1 Book Review), John K Gillespie As Theme Park: Reconfiguring the Human Journey Art of Theodora Skit tar N.]. Stanley 1 History « Theatre 160. 0 by Christopher Morash’ Book Review ts by Carole: Book Review), Ann vent upon Recombinant Hops s Strike a Site, Strike Amy ¢ 1932-2 I ory), Carol Martin Theatre and tl ternal Stage edited by Stanca Scholz Cionca and Samuel eiter’” (Book Review), Julie lezzi “foseph Chaikin: 1935—2003” (In Memory), Richard Schechnet 1 Kabuki Reader edited by Samue Leiter” (Book Rev ( ody Poulton Kodak Moments, Flashbulb Memories: Reflections on 9 Barbara Kirshenblatt-Gimbl “Lloyd Richards: Reflections from the Playwrights’ Champion,” Caroline Raymond “Majestic Drag: Monarchical Performativity and the King’s Body Theatrical,” Mark Franko ‘Make Love,” Karen Finley “Marina Abramovic’s The House with the Ocean View: The View of the House from Some Drops in the Ocean” (Critical Acts), James Westcott ‘Not In Between: Lyric Painting, Visual History and the Postcolonial Future,” Fred Moten “One Hundred Years of Nakedness in German Performance,” Karl [oepfer “On-Line Simulations/Real-Life Politics: A Discussion with Ricardo Dominguez on Staging Virtual Theatre,” Coco Fusco 2 “Painting As Performance: Charlotte Salomon’s Life? or Theatre?,” Claudia Barnett ‘A Performance Community Onstage and on the Street: Castillo Theatre and Heiner Miiller’s Germania 3,” Dan Friedman “Performance Studies in an Age of Terror” (Comment), John Bell “Performing History: Theatrical Representations of the Past in Conte mporar) Theatre by I reddie Rokem’ Book Review Suzanne Winnacke1 Performing Shakespeare in Japan edited by Minami Ryuta, Ian Carruthers, and John Gillies” (Book Review), Katherine Saltzman-Li “ Perspectives on Korean Dance by Judy Van Zile” (Book Review Yoshiko Fukushima “Rap’s Unruly Body: The Postmodern Performance of Black Male Identity on the American Stage,” Annette Saddik “Re:group/No homeland” (Critical Acts), Guillermo Gomez Pena, e-mael, and Alexis McKee “Resuscitating the Extinct: The Backbreeding of Historic Animals it U.S. Living History Museums,” Scott Magelssen “Robert Wilson and Fred Newman: A Dialogue on Politics and Therapy, Sullness and Vaudeville,’ ‘Saint Sebastian and the Blue-Eyed Blacks: Corpus¢ Cusco, Peru,” Max Harris ‘Satanicide” (Critical Acts), Katharine A. Brehm ‘Spiritual Survival in the Arctic: Atxam Taligisniikangi Aleutian Islands,””’ MaryGen Salmon 1 Split Second of Paradise edited by Nicky Childs and Jeni Walwin; Performing Processes: Creating Live Performance edited by Roberta Mock” (Book Review), Joshua D. Abrams “Strange Fruit: A Performance about Identity Politics,” Patrick Johnson Suzuki Tadashi and the Shizuoka Theatre Company in New York,” Toni Sant ‘The Tasteo f Bread: My Theatrical Experiencesi n Lebanon,” Raif Karam 4:12 Theater and the Politics of Culture in Contemporary Sin William Peterson” (Book Review), K.K. Seet fokvo Tim: A RepIo rt from Dokkyo University, ; January 2003: ” Critical Acts), Tim Millet cking the Secrets of Cult Comment), Arthur Miller ing the Talk: Castillo TI tre of 2002,” Sean Cook t Pay! We Won't Pay! And Other Plays: The Collected Plays Volume On¢ Dario Fo, translated by Ron Book Review Aavis ew ind Renev ( staigee in China” (Critical Acts), onceison hy il Economy of the Arts by Hans Abbing” (Book Review), Randy Martin ‘Women’s Work’?”(Comme hard Schechner The World after The Bomb” I Acts), T. Nikki Cesare na Gluzman’s I’m So S Critical Acts Theresa Smale