ATDS Member Publications by Name
Abbotson, Susan C. W. “Miller’s Debt to Thornton Wilder—To The American Clock by The Skin of Our Teeth.” Thornton Wilder: New Perspectives. Eds. Jackson Bryer and Lincoln Konkle. Evanston, IL: Northwestern UP, 2013. 189-206.
Abbotson, Susan C. W. “A Reassessment of the ‘Goodness’ of John Proctor: Fair or Foul?” Arthur Miller Journal 7.1-2 (Fall 2012): 15-21.
Abbotson, Susan C. W. “Arthur Miller.” Oxford Bibliographies Online: American Literature. Ed. Jackson Bryer. New York: Oxford UP, 2012.
Abbotson, Susan C. W. “Willy Loman’s Long Night’s Journey into Day.” Laconics. Eoneill.com. 6 (2011).
Abbotson, Susan C. W. “The ‘line to measure from’: Arthur Miller’s The American Clock as a Lesson for the Ages.” Arthur Miller: Critical Insights. Ed. Brenda Murphy. Pasadena, CA: Salem Press, 2011. 265-285.
Abbotson, Susan C. W. “Commentary and notes for The Crucible. By Arthur Miller. Methuen Drama Student Edition, Ed. Susan C. W. Abbotson. London: A&C Black, 2010.
Abbotson, Susan C. W. “Tennessee Williams on America.” Tennessee Williams. Ed. Brenda Murphy, Hackensack, NJ: Salem Press, 2010: 38-58.
Abbotson, Susan C. W. “African American Dramatic Theater,” ”African American Musical Theater,” and “Latino and Latin Americans.” Encyclopedia of Broadway and American Culture. Ed. Thomas A. Greenfield. Greenwood Press, 2010. 5-12, 13-20, 319-26.
Abbotson, Susan C. W. A Critical Companion to Arthur Miller, New York: Facts on File, 2007.
Anderson, Lisa M. Black Feminism in Contemporary Drama. 2008.
Anthony, M. Susan. “Not a ‘Whorish Actress:’ Celebrity on the Early American Stage. Journal of American Culture. 38 (Dec. 2015): 401-412.
Bank, Rosemarie K. and Michal Kobialka (eds.). Theatre/Performance Historiography: Time, Space, Matter. New York: Palgrave Macmillan, 2015.
Bank, Rosemarie K. “Labor, Theatre, and the Dream of the White City.” In Working in the Wings: New Perspectives on Theatre History and Labor. Eds. Elizabeth A. Osborne and Christine Woodworth. Carbondale, Il.: Southern Illinois University Press, 2015: 170-180.
Bay-Cheng, Sarah. “Unseen: Performance Criticism in an Age of Digital Recordings,” Theater 4.2 (2016): 77-85.
Bay-Cheng, Sarah, Jennifer Parker-Starbuck, and David Z. Saltz. Performance and Media: Taxonomies for a Changing Field. University of Michigan Press, 2015.
Bay-Cheng, Sarah. “Theatre is Media: Some Principles for a Digital Historiography of Performance” Theater 42.2 (2012): 27-41.
Bay-Cheng, Sarah and Barbara Cole. Poets at Play: An Anthology of Modernist Drama. Selinsgrove, PA: Susquehanna UP, 2010.
Bay-Cheng, Sarah and Amy Strahler Holzapfel. “The Living Theatre: A Brief History of a Bodily Metaphor” Journal of Dramatic Theory and Criticism 25.1 (fall 2010): 1-19.
Bay-Cheng, Sarah, C. Kattenbelt, A. Lavender, R. Nelson, eds. Mapping Intermediality in Performance. Amsterdam: Amsterdam UP, 2010.
Bennett, Michael Y. The Cambridge Introduction to Theatre and Literature of the Absurd. Cambridge: Cambridge University Press, 2015.
Bennett, Michael Y., Ed. Oscar Wilde’s Society Plays. New York: Palgrave Macmillan, 2015.
Bernstein, Robin. “Dances with Things: Material Culture and the Performance of Race,”Social Text 101 (December 2009): 67-94. Winner of the 2010 ATDS Research and Publication Award and the 2010 ATHE award for Outstanding Article in a Journal.
Bernstein, Robin. Racial Innocence: Performing American Childhood and Race from Slavery to Civil Rights. New York: New York University Press, 2011.
Bernstein, Robin. “Staging Lesbian and Gay New York,” chap. in Bryan Waterman and Cyrus R. K. Patell, eds., The Cambridge Companion to the Literature of New York City (Cambridge University Press, 2010), 202-217.
Bianchini, Natka. Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as Beckett’s American Director. Palgrave, 2015.
Bianchini, Natka. “Waiting for Triumph: Alan Schneider and the American Response to Waiting for Godot,” Journal of American Drama and Theatre. 26 (Winter 2014), 97-120.
Bial, Henry. Playing God: The Bible on the Broadway Stage. Ann Arbor: University of Michigan Press, 2015.
Bial, Henry and Sara Brady, eds. The Performance Studies Reader, Third Edition. London: Routledge, 2016.
Black, Cheryl and Jonathan Shandell, Editors, Experiments in Democracy: Interracial and Crosscultural Exchange in American Theatre, 1912-1945. Carbondale, IL: SIU Press, 2016.
Black, Cheryl. “„A” kao autsajder: potpuno poniženje i kulturna kritika u dramama crvenog slova Suzan-Lori Parks,” Republika n 11 / 2009 y LXV (Zagreb: Croatian Writers Society), Nikola Đuretić, ed. Trans. Serbo-Croatian by Andy Jelcic, 46-58.
Black, Cheryl. “Abject No More: Authority and Authenticity in the Theatrical Career of Rose McClendon,” Theatre History Studies, Vol. 30, 2010.
Black, Cheryl. “After the Emperor: Interracial Collaborations Between Provincetown Alumni and Black Theatre Artists, 1924-1946,” Journal of American Drama and Theatre vol. 20, no. 1 (Winter 2008): 5-26.
Black, Cheryl. “Three Variations on a National Theme: George O’Neil’s American Dream, 1933,” Journal of American Drama and Theatre, Vol. 22, no. 3 (Fall 2010): 69-89.
Black, Cheryl. “The Thrust for Freedom from Systems of Oppression: A Century of Suicide, Filicide, and Viricide in Plays by American Women,” in Violence in American Drama: Essays on its Staging, Meaning, and Effects, eds. Alfonso Ceballos and Bernardo Muñoz, Jefferson, NC and London: McFarland Press, 2011, pp. 44–58.
Black, Cheryl. "Transgressive Female Desire and Subversive Critique in the Seventeenth Century Canon: JoAnne Akalaitis’s Staging of Phedre, The Rover, and ‘Tis Pity She’s a Whore,” in Feminist Theatrical Revisions of Classic Works, edited by Sharon Friedman, Jefferson NC and London: McFarland Press, 2009, 135-147.
Black, Cheryl and Anne Fletcher. “The Color of Revolution: Race Trumps Class in the Theatre Union’s Stevedore (1934),” New England Theatre Journal, Vol. 22 (Winter 2011): 23-52.
Black, Cheryl. “A” is for Abject: The Red Letter Plays of Suzan-Lori Parks, Journal of Dramatic Theory and Criticism 1.2 (2012): 31-56.
Bloom, Arthur. Edwin Booth: A Biography and Performance History: McFarland & Co., 2013.
Bloom, Arthur. Joseph Jefferson: Dean of the American Theatre. Frederic Beil, 2000.
Bogar, Thomas A. American Presidents Attend the Theatre: The Playgoing Experiences of Each Chief Executive. McFarland. 2009.
Bogar, Thomas A. Backstage at the Lincoln Assassination: the Untold Story of the Actors and Stagehands at Ford’s Theatre. Regnery History, 2013.
Brody, Jane Drake. Acting, Archetype, and Neuroscience: Superscenes for Actors, Directors, and Teachers. Routledge. September 2016
Brody, Jane Drake. The Actor’s Business Plan: A Career Guide for the Acting Life. London. Bloomsbury. 2015
Buckner, Jocelyn, Editor. A Critical Companion to Lynn Nottage. New York: Routledge, 2016.
Callens, Johan. “The Volatile Value of Suffering: Jan Ritsema’s PhiloktetesVariations.” The Trojan Wars and the Making of the Modern World: Classical Reception after Antiquity. Ed. & introd. Adam J. Goldwyn. Studia Graeca Upsaliensia vol. 22. Uppsala: Uppsala UP, 2015. 223-244.
Callens, Johan. “Recalibrating O’Neill’s Modern Tragedy: Staging Long Day’s Journey into Night in the Low Countries.” Eugene O’Neill Review 36.1 (2015): 29-47.
Callens, Johan. “(Ré)animer les spectres du théâtre intermédial: Hier Ist der Apparat de Chris Kondek.” [“Reanimating the Ghosts in the Machine (Again): Chris Kondek’s Hier Ist der Apparat”] Théâtre et intermédialité. Ed. Jean-Marc Larrue. Arts du spectacle – Images et sons. Lille: Presses Universitaires du Septentrion, 2015. 169-186
Callens, Johan. “Recursion, Iteration, Difference.” Performance Studies: Key Words, Concepts, and Theories, ed. Bryan Reynolds. London: Palgrave Macmillan, 2014. 76-83.
Callens, Johan. “The Place of the Visual Arts within the Broad Spectrum of Performance Studies.” Enjeux et Positionnements de l’Interdisciplinarité / Positioning Interdisciplinarity. Ed. Claudine Armand, Vanessa Boullet and David Ten Eyck. Nancy: Presses Universitaires de Nancy (PUN)/Éditions Universitaires de Lorraine, 2014. 133-152.
Callens, Johan. “Tennessee Williams and Ivo van Hove at Home Abroad.” Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges, ed. John S.Bak. DQR Studies in Literature, Volume 54. Amsterdam: Rodopi, 2014. 301-319.
Callens, Johan. Dramaturgies in the New Millennium: Relationality, Performativity, and Potentiality. Ed. and introd. Katharina Pewny, Jeroen Coppens and Johan Callens, Forum Modernes Theater Schriftenreihe vol 44 [Book Series]. Tübingen: Narr Francke Attempto Verlag, 2014.
Callens, Johan. “The Wooster Group’s Hamlet, according to the True Original Copies.” Theatre Journal 61.4 (Dec. 2009): 539-561.
Callens, Johan. “Mediating Phèdre.” Theater und Medien/Theater and the Media.Grundlagen – Analysen – Perspektiven: Eine Bestandsaufnahme. Kultur- undMedientheorie. 2008.
Cantu, Maya. American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy. New York: Palgrave Macmillan, 2015.
Carlyon, David. The Education of a Circus Clown: Mentors, Audiences, Mistakes. Forthcoming in Dec. 2015, Palgrave.
Carlyon. David. “From the Broadway Tabernacle to the Gettysburg Battlefield: Did Edwin Forrest Influence Abraham Lincoln?,” Theatre Survey 56:1 (Jan. 2015): 71-94.
Carlyon, David. “‘Soft & Silky Around Her Hips’: Nineteenth-Century Circus and Sex.” Journal of American Drama and Theatre 22.2 (Spring 2010).
Carlyon, David. “Encomiast,” poem, Westchester Review 4 (2010).
Chansky, Dorothy. “American Higher Education and Dramatic Literature In(to) English,” Theatre Survey 54:3 (Sept., 2013): 419-438.
Chansky, Dorothy. “Usable Performance Feminism for Our Time: Reconsidering BettyFriedan.” Theatre Journal. 2008.
James M. Cherry. “Parody, E.E. Cummings, and the Twentieth-Century Rebuilding of Uncle Tom’s Cabin.” Modern Drama 57:2 (June 2014): 187-206.
James M. Cherry. “Theater and Ritual in American Politics.” American Political Culture, (ABC-CLIO, 2015): 1097-1103.
Chinoy, Helen Krich. The Group Theatre: Passion, Politics, and Performance in the Depression Era. Edited by Don B. Wilmeth and Milly S. Barranger. New York: Palgrave Macmillan, 2013.
Connolly, Thomas F. Genus Envy: Nationalities, Identities, and The Performing Body Of Work. Cambria Press, 2010.
Cosdon, Mark. “Band of Brothers,” Dance Gazette: The Journal of London’s Royal Academy of Dance, 2010.
Cosdon, Mark. The Hanlon Brothers: From Daredevil Acrobatics to Spectacle Pantomime, 1833 – 1931. Carbondale, IL: Southern Illinois University Press, 2010.
Cosdon, Mark. “’Introducing Occidentals to an Exotic Art,’ Mei Lanfang in New York,” in China’s Average Operatic Male Actor of Female Roles: Documenting the Life and Art of Mei Lanfang, 1894-1961, ed. Min Tian. Lewiston, NY: Edwin Mellen Press, 2010.
Cosdon, Mark. “Le Voyage en Suisse des frères Hanlon: performances de comédiens et comédie de la performance,” in Pantomime et théâtre du corps: Transparence et opacité du hors-texte, ed. Arnaud Rykner. Rennes, France: Presses Universitaires de Rennes, 2009.
Crespy, David. Richard Barr: The Playwright’s Producer. Carbondale, IL: SIU Press, 2013.
Cummings, Scott T. and Erica Stevens Abbitt (editors). The Theatre of Naomi Wallace: Embodied Dialogues. New York, NY: Palgrave Macmillan, 2013.
Curley, Eileen. “Parlour Conflagrations: Science and Special Effects in Manuals for Amateur Theatricals,” Popular Entertainment Studies, 6.1 (2015): 26-41. Link.
Curry, J.K. “Kate Claxton, Fire Jinx: The Aftermath of the Brooklyn Theatre Fire,” Performance Research 18, 1 (February 2013): 64-69.
Dail, Chrystyna. Stage for Action: U.S. Social Activist Theatre in the 1940s. Carbondale: SIU Press, 2016. (Forthcoming November 9, 2016)
Dail, Chrystyna. “Driving Race Work: The UAW, Detroit, and Discrimination for Everybody!“ In Working in the Wings: New Perspectives on Theatre History and Labor, edited by Beth Osborne and Chris Woodworth, 23 – 35. Carbondale: SIU Press, 2015.
Dail, Chrystyna. “Locating Fascism by Dislocating War, “Theatre History Studies 33 (2014): 151 – 168.
Demastes, Bill. Spalding Gray’s America. 2008.
DesRochers, Rick. The Comic Offense from Vaudeville to Contemporary Comedy: Larry David, Tina Fey, Stephen Colbert, Dave Chappelle. New York: Bloomsbury, 2014.
DesRochers, Rick. “The Mythology of History, Family and Performance” in Suzan-Lori Parks in Person: Interviews and Commentaries, eds. Phillip C. Kolin and Harvey Young. New York: Routledge, 2014.
DesRochers, Rick. The New Humor and American Vaudeville in Contemporary Society: Larry David, Tina Fey, Stephen Colbert, Dave Chappelle. Continuum Books, 2013.
DesRochers, Rick. The New Humor in the Progressive Era: Americanization and the Vaudeville Comedian. New York: Palgrave Macmillan, 2014.
DiCintio, Matt. “Research Strategies in Dramaturgical Practice.” In The Routledge Companion to Dramaturgy, edited by Magda Romanska. New York: Routledge, 2014. 304-07.
DuComb, Christian. “Staging Violence in Pig Iron Theatre Company’s Anodyne.” Theatre Journal 64.2 (May 2012): 197- 211.
Eynat-Confino, Irene. On the Uses of the Fantastic in Modern Theatre: Cocteau,Oedipus, and the Monster. 2008.
Falocco, Joe. “Auditioning for Shakespeare.” PERFORM: Succeeding as a Creative Professional. Ed. Anna Weinstein. New York: Focal Press. (Forthcoming).
Falocco, Joe. “Kyd-ding Around in Austin: The Spanish Tragedy at the Curtain.” Texas Theatre Journal 11 (2015): 49-64.
Falocco, Joe. “‘Shakespeare has it both ways’: Character and Form in Performance,” New England Theatre Journal 25 (2014).
Falocco, Joe. “Cibber, Barrymore, Barton and the History of Richard III in Performance, Upstart Crow 1 (August 2013), Web.
Falocco, Joe. “Abridged Acting Editions of Shakespeare in the Twenty-First Century.” Texas Theatre Journal 9 (2013), 55-68.
Fischer, Iris Smith, guest editor.”Scientific Research and Inquiry in American Theatre” (special issue sponsored by ATDS), Journal of American Drama and Theatre 28, 2 (Spring 2016). To view the issue contents, go to http://jadtjournal.org.
Fischer, Iris Smith. Mabou Mines: Making Avant-Garde Theater in the 1970s. Ann Arbor: University of Michigan Press, 2011 (cloth), 2012 (paper).
Fischer, Iris Smith. “Cognitive Science, Performance, and Metaphor,” Consciousness in Interdisciplinary Perspective: Discussions from the Humanities Fall Faculty Colloquium 2011. Ed. Anna Neill and Leslie Tuttle. KU Scholarworks, 2012. <http://hdl.handle.net/1808/9931>
Fischer, Iris Smith. “Theatre at the Birth of Semiotics: Charles Sanders Peirce, Francois Delsarte, and James Steele Mackaye,” Transactions of the Charles S. Peirce Society: A Quarterly Journal of American Philosophy, 49,3 (2013): 371-394.
Fischer, Iris Smith. “On the Realistic Hypostatization of Relations,” Charles S. Peirce in His Own Words: 100 Years of Semiotics, Communication, and Cognition. Amsterdam: Mouton, 2014: 193-199+refs.
Fischer, Iris Smith. Obituary: “Frederick Neumann (1926-2012),” Journal of Beckett Studies 23 (2014): 114-124.
Fischer, Iris Smith. “Paradoxes of Reason and Inquiry in the Aesthetics of Francois Delsarte,” Semiotics 2014. Ottawa, CA: Legas, forthcoming 2015.
Fisher, James. Historical Dictionary of American Theater: Beginnings. Rowman & Littlefield Publishers, 2015.
Fisher, James. Understanding Tony Kushner. 2008.
Fisher, James (ed). “We Will Be Citizens”: New Essays on Gay and Lesbian Theatre.2008 .
Fleming, John. Romulus Linney: Maverick of the American Theater. 2008.
Fleming, John. Tom Stoppard’s Arcadia. 2008.
Fletcher, Anne. Rediscovering Mordecai Gorelik: Scene Design and the AmericanTheatre. Carbondale, IL: SIU Press, 2009.
Foster, Verna A. “Meta-melodrama: Branden Jacobs-Jenkins Appropriates Dion Boucicault’s The Octoroon,” Modern Drama 59, 3 (Fall 2016): 285-305.
Foster, Verna A. “After Chekhov: The Three Sisters of Beth Henley, Wendy Wasserstein, Timberlake Wertenbaker, and Blake Morrison,” Comparative Drama 47 (Winter 2013): 451-72.
Foster, Verna A., ed. Dramatic Revisions of Myths, Fairy Tales and Legends: Essays on Recent Plays. Jefferson, NC: McFarland & Co., 2012.
Foster, Verna A. “Beth Henley’s Abundance: The Cinematic Myth of the Wild West Revised.” In Foster, ed. Dramatic Revisions of Myths, Fairy Tales and Legends: Essays on Recent Plays. Jefferson, NC: McFarland & Co., 2012, 225-39.
Foster, Verna A. “Ridiculous Fraud and The Jacksonian—Beth Henley’s New Plays about the South: An Interview.” The Southern Quarterly 50:1 (Fall 2012): 43-57.
Foster, Verna A. “Liz Lochhead’s Dracula: Revision and Reception,” Text & Presentation, 2011, The Comparative Drama Conference Series, 8. Ed. Kiki Gounaridou. (Jefferson, NC: McFarland, 2012): 83-92.
Friedman, Sharon. “Between Desire and Authority: The ‘Dybbuk’ in Modernist and Postmodern Theatrical Adaptations from S. Ansky to Tony Kushner,” in Dramatic Revisions of Myths, Fairy Tales and Legends, ed. Verna A. Foster, McFarland & Company, 2012.
Friedman, Sharon, ed. Feminist Theatrical Revisions of Classic Works. Jefferson, NC and London: McFarland Press, 2009.
Friedman, Sharon. “What there is behind us”: Susan Glaspell’s Challenge to Nativist Discourse in Stage Adaptations of her Harper’s Monthly Fiction,” in Intertextuality in American Drama, eds. Drew Eisenhauer and Brenda Murphy, McFarland & Company, 2013.
Frick, John. “Lost! Or What to Do When Your Principal Primary Document is Missing.” Performing Arts Resource (2011).
Frick, John. The Representation of Violence and the Violence of Representation: Uncle Tom’s Cabin and the Appropriation of Race on the American Stage,” New England Theatre Journal Vol. 21 (2010).
Frick, John. “A New Look at an Old Play: Re-reading Royall Tyler’s The Contrast.” Nineteenth-Century Literary Criticism. (2011).
Frick, John W. Uncle Tom’s Cabin on the American Stage and Screen. New York: Palgrave Macmillan, 2012.
Frick, John. “The Death of Little Eva,” Uncle Tom’s Cabin Online. Harriet Beecher Stowe Center Blog. (2011).
Geary, Fonzie D., II “Love and…Marriage? Maxwell Anderson’s Advice to ‘Saturday’s Children’ Regarding the Marriage Crisis in America.” New England Theatre Journal, 24, (2013): 13-31.
Geary, Fonzie D., II. “A Plague on Both Your Houses: Mr. Anderson Goes to Washington,” New England Theatre Journal 22 (2011): 1-22.
Geary, Fonzie D., II. “What Good Old Days? Maxwell Anderson Confronts Capitalism and Marriage with a Ride on ‘The Star-Wagon,’” Journal of American Drama and Theatre 25, 2 (Spring 2013): 59-76.
Geis, Deborah R. Suzan-Lori Parks. 2008.
Goldstein, Tara. Staging Harriet’s House: Writing and Producing Research-Informed Theatre. New York, NY: Peter Lang, 2012.
Goldstein, Tara. Zero Tolerance and Other Plays: Disrupting Xenophobia, Racism and Homophobia at School. Rotterdam, The Netherlands: Sense Publishers, 2013.
González Crespán, Araceli. Desafío y Convención:Imágenes de la mujer sureña en Lillian Hellman. New Orleans: University Press of the South, 2005.
González Crespán, Araceli. “Educational Dramatics: The Instructional Qualities of Fefu and Her Friends”, Revista de Estudios Norteamericanos 17 (2013): 45-59.
González Crespán, Araceli. “Las mujeres de Lillian Hellman: una voz poderosa en un teatro de hombres”, Asparkía. Investigació Feminista 23 (2012): 49-71.
Granshaw, Michelle. “The Mysterious Victory of the Newsboys: The Grand Duke Theatre’s 1874 Challenge to the Theatre Licensing Law.” Theatre Survey 55, 1 (January 2014): 48-80.
Grossman, Barbara Wallace. A Spectacle of Suffering: Clara Morris on the AmericanStage. 2009.
Guterman, Gad. Performance, Identity, and Immigration Law: A Theatre of Undocumentedness. Palgrave Macmillan, 2014.
Harding, James M. Cutting Performances: Collage Events, Feminist Artists, and theAmerican Avant-Garde. 2010.
Hecht, Stuart, “Stephen Sondheim: West Side Story (1957), Gypsy (1959) with collaborators Jerome Robbins and Arthur Laurents,” for Susan Abbotson, editor of the 1950s volume for multivolume set, Decades of Modern American Drama, Brenda Murphy, primary editor (forthcoming)
Hecht, Stuart, AMERICAN REPERTORY THEATRE for The Palgrave Handbook of Musical Theatre Producers, Laura MacDonald and William A. Everett, editors (Palgrave Macmillan, New York and London) (forthcoming)
Hecht, Stuart, “Jazz, Jews and Modernism on Broadway: from Lady, Be Good! to Show Boat” for Jonathan Shandell and Cheryl Black’s book, Experiments in Democracy: Inter-Racial and Cross-cultural Exchange in American Theatre and Performance During the Pre-Civil Rights Era (Southern Illinois University Press, 2016)
Hecht, Stuart, “McCarthy gegen Mostel: Ein jüdischer Broadwaystar überlebt die Schwarze Liste,” Jüdischer Almanach, Musik, Gisela Dachs (ed.), 250 Pages, Jüdischer Verlag-Suhrkamp, Berlin 2016
Hecht, Stuart, “Owning Up: Controlling the Onstage Jewish Persona on the Early 20th century American Stage,” for Joshua Polster’s book, Stages of Engagement: U.S. Theatre and Performance from 1898-1949, (Routledge Press: New York, 2015)
Hecht, Stuart. Book review of Mark Blitzstein: His Life, His Work, His World, by Howard Pollack (Oxford University Press, 2012). In Journal of Dramatic Theory and Criticism, Vol XXVIII, No. 2 (Spring 2014), 89-91
Hecht, Stuart, “From Blacklist to ‘Free’: the Musical Liberation of Zero Mostel,” The Sondheim Review, Vol. XX, No. 3 (Summer 2014), 23-2
Hecht, Stuart, Review of Bigger, Brighter, Louder: 150 Years of Chicago Theater as Seen by Chicago Tribune Critics by Chris Jones (University of Chicago Press, 2012). In Theatre History Studies, Vol 36 (2015)
Hecht, Stuart, Review, “Our Yiddish Theatre, Ourselves” of Inventing the Modern Yiddish State: Essays in Drama, Performance, and Show Business. Joel Berkowitz and Barbara Henry, eds.(Detroit: Wayne State University Press, 2012). In H-Net Reviews in the Humanities and Social Sciences, H-Judaic (June, 2013)
Hecht, Stuart. “In Memoriam: Robert Sickinger, 1927-2013,” American Theatre, September 13, 2013, p. 21
Hughes, Amy E. “Spectacles of Insanity: The Delirium Tremens on the Antebellum Stage.” Journal of American Drama and Theatre 22, no. 2 (Spring 2010): 7-24.
Hughes, Amy E. Spectacles of Reform: Theater and Activism in Nineteenth-Century America. University of Michigan Press, 2012.
Hurt, Melissa. Arthur Lessac’s Embodied Actor Training. New York, NY: Routledge, 2014.
Hurwitz, Nathan. A History of the American Musical Theatre: No Business Like it. London, UK, Routledge, 2014.
Jones, Megan Sanborn and Callie Oppedisano. “Profile on Mormon Playwriting,” Ecumenica 8,2 (Spring 2016): 45-48.
Jones, Megan Sanborn. “Testimony in the Muscles, in the Bone: Proxy Performance at the Mesa Easter Pageant.” Mormon Studies Review 3 (2016): 11-18.
Jones, Megan Sanborn. “Mormons Think They Should Dance.” In Play, Performance, and Identity: How Institutions Structure Ludic Spaces, Matt Omasta and Drew Chappell, eds. New York: Routledge Advanced in Theatre and Performance Studies, 2015.
Jones, Megan Sanborn, “Mormons and Melodrama.” In Mormons and American Popular Culture. Ed. Michael Hunter. New York: ABC-CLIO Praeger. 2012.
Jones, Megan Sanborn. Performing American Identity in Anti-Mormon Melodrama.2009.
Jouve, Emeline, Susan Glaspell’s Drama of Revolt, Iowa City: University of Iowa Press, forthcoming.
Jourve, Emeline, Aurélie Guillain, and Laurence Talairach-Vielmas, Editors, Unspeakable Acts: Murder by Women, Berne: Peter Lang, forthcoming.
Jouve, Emeline and Lionell Miniato, Editors, Chronique judiciaire et fictionnalisation du procès, Paris: Marre et Martin, forthcoming.
-Susan Glaspell’s Trifles and “A Jury of Her Peers”: Centennial Essays, Interviews, and Adaptations, co-edited with Martha C. Carpentier, Jefferson: McFarland, 2015.
Kattwinkel, Susan. “ The Tradition of the Eccentric Body in Vaudeville: Subversion and Power in Performance,” The Journal of American Drama and Theatre, Vol. 24, no. 3, 2012.
Kelly, Baron. “Ira Aldridge and Taras Shevchenko: The Story of a Friendship.” In Journalof Ukrainian Institute of Education and Science. Petro Konoenko, editor. Science and Research Institute of the Ministry of Education. August 2008.
Kelly, Baron “Ira Aldridge: Prophet of Protest”, Ira Aldridge 1807-1867 The Great Shakespearian Tragedian on the Bicentennial Anniversary of his Birth. 2008.
Kelly, Baron. Review of “Ira Aldridge: The African Roscius,” Theatre Topics. 2008.
King, William Davies. Another Part of a Long Story: Literary Traces of Eugene O’Neill and Agnes Boulton (Michigan, 2010).
King, William Davies, ed. Part of a Long Story, by Agnes Boulton (McFarland, 2011)
Klein, Jeanne. “Without Distinction of Age: The Pivotal Roles of Child Actors and Their Spectators in Nineteenth-Century Theatre.” The Lion and the Unicorn 36.2 (April 2012): 117-135. Received Honorable Mention for 2013 AATE Research Award.
Kippola, Karl. Acts of Manhood: The Performance of Masculinity on the American Stage, 1828-1865. Palgrave Macmillan, 2012.
Londré, Felicia Hardison. “The Range of Laughter: First-Person Reports from Entertainers of the Over There Theatre League,” Humor, Entertainment, and Popular Culture during World War I, ed. by Clémentine Tholas-Disset and Karen A. Ritzenhoff. New York: Palgrave Macmillan, 2015, 169-179.
Londré, Felicia Hardison. “Elsie’s Big Show: From Entertainment Under Fire to Firing Stories in All Directions,” Old Stories, New Readings: The Transforming Power of American Drama, ed. by Miriam López-Rodríguez, Immaculata Pineda-Hernández, and Alfonso Ceballos Muõz. Newcastle upon Tyne: Cambridge Scholars Publishing, 2015, 71-83.
Londré, Felicia Hardison. “Sarah Bernhardt’s Last Stand in America: How the One-Legged Actress Promoted American Involvement in the Great War,” New England Theatre Journal 25 (2014), 1-24.
Londré, Felicia Hardison. “En Avant! Tennessee Williams between Hyperborea and the Mediterranean,” Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges, ed. by John S. Bak. Amsterdam: Rodopi, 2014. Also published in DQR Studies in Literature, Volume 54 (2014), 27-41.
Londré, Felicia Hardison. “’A Vast Traumatic Eye’: Culture Absorbed and Refigured in Tennessee Williams’s Transitional Plays,” The Theatre of Tennessee Williams, ed. Brenda Murphy. London: Bloomsbury, 2014, pp. 232-243.
MacDonald, Laura and Myrte Halman. “Geen Grenzen Meer: An American Musical’s Unlimited Border Crossing,” Theatre Research International, 39, 3 (October 2014) pp 198-216.
Magelssen, Scott. Simming: Participatory Performance and the Making of Meaning. Ann Arbor, MI: University of Michigan Press, 2014.
Magnuson, Landis. “‘No roof except the sky’: The Rise and Fall of Airdomes in American Popular Entertainment.” Theatre Symposium. 2009.
Masequesmay, Gina and Sean Metzger, editors. Embodying Asian/American Sexualities, Lanham: Lexington Books. 2009.
Mason, Jeffrey. Stone Tower: The Political Theater of Arthur Miller. 2008.
Maufort, Marc. “Signatures of Cultural Memory.” Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama. 2008.
Mayer, David. Bandits! or The Collapsing Bridge: an early film and a late-Victorian stage. London (UK), Society for Theatre Research, 2015.
Mayer, David. Stagestruck Filmmaker: D.W. Griffith and the American Theatre. Iowa City, IA: University of Iowa Press, 2009.
Mielke, Laura L. “Transforming Captivity Narratives in Kevin Willmott’s The Only Good Indian.” American Studies 55,1 (May 2016): 5-30.
Mielke, Laura L. and Martha Baldwin. “‘a black diamond among thim American wifes’: Kate Edwards Swayze’s Anti-Slavery Adaptation of George Colman’s Inkle and Yarico.” Edited with Martha Baldwin. Scholarly Editing 2015. Online: www.scholarlyediting.org.
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