Vol. 31 No. 1

Bodies and Playwrights

Donatella Galella, Editor Building Character: The Art and Science of Casting By Amy Cook Reviewed by Ariel Nereson Latinx Theater in the Times of Neoliberalism By Patricia A. Ybarra Reviewed by Trevor Boffone The Late Work of Sam Shepard By Shannon Blake Skelton Reviewed by Carol Westcamp Disability Theatre and Modern Drama: Recasting Modernism By […]

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Edward Albee’s Sadomasochistic Ludonarratology in Who’s Afraid of Virginia Woolf?

by Tison Pugh The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center A relatively new term in the critical lexicon, ludonarratology theorizes the intersection of games and narrative structures in a particularly apt formulation for the theatrical world. Of the intersection of […]

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Are We “Citizens”? Tony Kushner’s Deweyan Democratic Vision in Angels in America

by Courtney Ferriter The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center In his recent book Democracy in Black (2016), Eddie S. Glaude, Jr. argues that for Americans, “collective forgetting is crucial in determining the kind of story we tell ourselves. Ours […]

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Pageants and Patriots: Jewish Spectacles as Performances of Belonging

by Rachel Merrill Moss and Gary Alan Fine The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center The night before Independence Day in 1933, something unprecedented occurred.[1] As part of Chicago’s Century of Progress Exposition, “Jewish Day” was celebrated, culminating in a […]

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“Anyway, the Whole Point of This Was to Make You Feel Something”: Branden Jacobs-Jenkins and the Reconstruction of Melodrama

by Rosa Schneider The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center A hush falls over the previously raucous crowd as the image projected across the wall of Theatre for a New Audience and onto the bodies of the actors on stage […]

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