New Theatre Quarterly 76 Volume 19 Part 4

Provides an international forum where theatrical scholarship and practice can meet.

New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance, that theatre studies need a methodology, and that theatre criticism needs a language. Articles in volume 73 include: Performance, Embodiment, Voice: the Theatre/Dance Cross-overs of Dodin, Bausch, and Forsythe; The Performative Self: Improvisation for Self and Other; The Events of June 1848: the 'Monte Cristo' Riots and the Politics of Protest; Culture, Memory, and American Performer Training; 'The Maker and the Tool': Charles Parker, Documentary Performance, and the Search for a Popular Culture; Simple Pleasures: the Ten-Minute Play, Overnight Theatre, and the Decline of the Art of Storytelling; Archive or Memory? The Detritus of Live Performance; NTQ Reports and Announcements; NTQ Book Reviews.

New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.

New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet. Topics covered in number 44 include: 'Spectatorial Theory in the Age of the Media Culture', and 'The Company You Keep: Subversive Thoughts on the Impact of the Playwright and the Performer'.

Provides an international forum where theatrical scholarship and practice can meet to question dramatic assumptions.

One of a series discussing topics of interest in theatre studies from theoretical, methodological, philosophical and historical perspectives.

Features three female actors who were significant in their development of new and innovative ways of performing Shakespeare.

New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance.