Year

ATDS Member Publications by Year

2016

Bay-Cheng, Sarah. “Unseen: Performance Criticism in an Age of Digital Recordings,” Theater 4.2 (2016): 77-85

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.

Brody, Jane Drake. Acting, Archetype, and Neuroscience: Superscenes for Actors, Directors, and Teachers. Routledge. September 2016.

Buckner, Jocelyn, Editor. A Critical Companion to Lynn Nottage. New York: Routledge, 2016.

Dail, Chrystyna. Stage for Action: U.S. Social Activist Theatre in the 1940s. Carbondale: SIU Press, 2016.

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.

Foster, Verna A. “Meta-melodrama: Branden Jacobs-Jenkins Appropriates Dion Boucicault’s The Octoroon,” Modern Drama 59, 3 (Fall 2016): 285-305.

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

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.

Mielke, Laura L. “Transforming Captivity Narratives in Kevin Willmott’s The Only Good Indian.” American Studies 55,1 (May 2016): 5-30.

Polster, Joshua. Stages of Engagement: U.S. Theatre and Performance 1898-1949. London and New York: Routledge, 2016.

Polster, Joshua. Ed. The Routledge Anthology of US Drama 1898-1949. London and New York: Routledge, 2016.

Saal, Ilka. “Theatricality in Contemporary Visual and Performance Art on New World Slavery.” Oxford Handbooks Online: Literature (June 2016). Online.

Senelick, Laurence. “Offenbach, Wagner, Nietzsche: The Polemics of Opera,” New Theatre Quarterly (Feb. 2016): 1-16.

Stephenson, Bradley. “This In-Between Life: Disability, Trans-Corporeality, and Radioactive Half-Life in D.W. Gregory’s Radium Girls,” Journal of American Drama and Theatre 28, 2 (Spring 2016).

2015

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, Jennifer Parker-Starbuck, and David Z. Saltz. Performance and Media: Taxonomies for a Changing Field. University of Michigan Press, 2015.

Bay-Cheng, Sarah. “Virtual Realisms: Dramatic Forays into the Future,” Theatre Journal 67.4 (December 2015): 686-698.

Bial, Henry. Playing God: The Bible on the Broadway Stage. Ann Arbor: University of Michigan Press, 2015.

Bianchini, Natka. Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as Beckett’s American Director. Palgrave, 2015.

Brody, Jane Drake. The Actor’s Business Plan: A Career Guide for the Acting Life. London. Bloomsbury. 2015

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. “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.

Cantu, Maya. American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy. New York: Palgrave Macmillan, 2015.

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. The Education of a Circus Clown: Mentors, Audiences, Mistakes. Palgrave, 2015.

James M. Cherry. “Theater and Ritual in American Politics.” American Political Culture, (ABC-CLIO, 2015): 1097-1103.

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 Press2015. 

DiCintio, Matt. “Research Strategies in Dramaturgical Practice.” In The Routledge Companion to Dramaturgy. Edited by Magda Romanska. London/New York: Routledge, 2015. 304-07.

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.

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.

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.

Mayer, David. Bandits! or The Collapsing Bridge: an early film and a late-Victorian stage. London (UK), Society for Theatre Research, 2015.

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.

Nees, Heidi L. “Review of world premiere Off the Rails by Randy Reinholz.” Native Voices at the Autry, Los Angeles. 28 February 2015. Theatre Journal, Vol. 67, No. 4 (December 2015).

Saal, Ilka. “The Taste for Whiteness: Kara Walker’s Marvelous Sugar Baby (2014).” Food, Fatness and Fitness. Critical Perspectives. 27. Apr. 2015. Web.

Saal, Ilka. “Susan Glaspell’s Radicalization of Women’s Crime Fiction: Female Reading Strategies from Anna Katharine Green to Sara Paretsky,” co-written with Mareike Dolata. On Susan Glaspell’s Trifles and “A Jury of Her Peers”: Centennial Essays, Interviews and Adaptations. Eds. Martha Carpentier and Emeline Jouve. Jefferson: McFarland, 2015. 62-78.

Saal, Ilka. “Of Diggin’ and Fakin’: Historiopoiesis in Suzan-Lori Parks and Contemporary African American Culture.” African American Culture & Society Post Rodney King: Provocations & Protests, Progression & ‘Post-Racialism’. Eds. Jo Metcalf and Carina Spaulding. Farnham: Ashgate, 2015. 67-81.

Saal, Ilka. “‘Just as Good as the Real Thing’: Exploring Historiopoiesis in Contemporary African American Literature.” Poetics of Politics: Textuality and Social Relevance in Contemporary American Literature and Culture. Eds. Sebastian M. Herrmann, Carolin Alice Hofmann, Katja Kanzler, Stefan Schubert, Frank Usbeck. Heidelberg: Winter, 2015. 215-34.

Senelick, Laurence, Translator. The Ghost Sonata, by August Strindberg (New York: Broadway Play Publishing, 2015).

Senelick, Laurence. “Brief Encounters: Mikhail Chekhov and Shakespeare,” The Routledge Companion to Michael Chekhov, ed. Marie-Christine Autant-Mathieu and Yana Meerzon (Routledge, 2015), pp.141-60.

Senelick, Laurence. “Lesbians, Please Leave the Stage!” Gay and Lesbian Review Worldwide (May-June 2015): 25-28.

Senelick, Laurence. “The opening night of Vert-Vert,” Jacques Offenbach Society Newsletter 71 (Mar. 2015): 17-23.

Senelick, Laurence. “How Ibsen Fared in Russian Culture and Politics,” Ibsen Studies (2015): 1-18.

Senelick, Laurence. A Historical Dictionary of Russian Theatre, 2nd edition revised and enlarged (Scarecrow Press, 2015).

Vey, Shauna. Childhood and Nineteenth-Century American Theatre: The Work of the Marsh Troupe of Juvenile Actors. Carbondale, IL: SIU Press, 2015.

Young, Catherine. “‘A Very Good Act For an Unimportant Place’: Animals, Ambivalence, and Abuse in Big-Time Vaudeville,” in Performing Animality: Animals in Performance Practices, ed: Jennifer Parker-Starbuck and Lourdes Orozco (Houndmills: Palgrave Macmillan, 2015): 77-96.

2014

Abbotson, Susan. “Arthur Miller.” Contemporary American Dramatists. Eds. Martin Middeke, Matthew Roudané, and Peter Paul Schnierer. London: Bloomsbury Academic, 2014. 206-23.

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.

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. “Recursion, Iteration, Difference.” Performance Studies: Key Words, Concepts, and Theories, ed. Bryan Reynolds. London: Palgrave Macmillan, 2014.  76-83.

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.

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.

Cummings, Scott T. and Erica Stevens Abbitt (editors). The Theatre of Naomi Wallace: Embodied Dialogues. New York, NY: Palgrave Macmillan, 2013.

Dail, Chrystyna. “Locating Fascism by Dislocating War, “Theatre History Studies 33 (2014): 151 – 168

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 New Humor in the Progressive Era: Americanization and the Vaudeville Comedian. New York: Palgrave Macmillan, 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.

DiCintio, Matt. “Research Strategies in Dramaturgical Practice.” In The Routledge Companion to Dramaturgy, edited by Magda Romanska. New York: Routledge, 2014. 304-07.

Falocco, Joe. “‘Shakespeare has it both ways’: Character and Form in Performance,” New England Theatre Journal 25 (2014), Forthcoming.

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.

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.

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. “In Memoriam: Robert Sickinger, 1927-2013,” American Theatre, September 13, 2013, p. 21

Hecht, Stuart. Book 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. Transposing Broadway: Jews, Assimilation, and the American Musical. Palgrave MacMillan, 2011. New paperback version.

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.

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.

Schildcrout, Jordan. Murder Most Queer: The Homicidal Homosexual in the American Theater. Ann Arbor, MI: University of Michigan Press, 2014.

Sofer, Andrew. Dark Matter: Invisibility in Drama, Theater, and Performance. Ann Arbor, MI: University of Michigan Press, 2013.

Thomas, LaRonika. “Digital Dramaturgy and Digital Dramaturgs.” In The Routledge Companion to Dramaturgy. Edited by Magda Romanska, 506-511. New York: Routledge, 2014.

Vey, Shauna. “An American Antebellum Child-Actor Contract: Alfred Stewart and the Shift from Craft Apprentice to Wage Laborer.”  In Enteraining Children: The Participation of Youth in the Entertainment Industry, edited by Gillian Arrighi and Victor Emeljanow, 33-50. NY: Palgrave, 2014.

2013

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.

Bogar, Thomas A. Backstage at the Lincoln Assassination: the Untold Story of the Actors and Stagehands at Ford’s Theatre. Regnery History, 2013.

Bloom, Arthur. Edwin BoothA Biography and Performance History: McFarland & Co., 2013.

Chansky, Dorothy.  “American Higher Education and Dramatic Literature In(to) English,” Theatre Survey 54:3 (Sept., 2013): 419-438.

Crespy, David. Richard Barr: The Playwright’s Producer. Carbondale, IL: SIU Press, 2013.

Curry, J.K. “Kate Claxton, Fire Jinx: The Aftermath of the Brooklyn Theatre Fire,” Performance Research 18, 1 (February 2013): 64-69.

DesRochers, Rick. The New Humor and American Vaudeville in Contemporary Society: Larry David, Tina Fey, Stephen Colbert, Dave Chappelle. Continuum Books, 2013.

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. “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.

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.

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.

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. “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.

Goldstein, Tara. Zero Tolerance and Other Plays: Disrupting Xenophobia, Racism and Homophobia at School. Rotterdam, The Netherlands: Sense Publishers, 2013.

González Crespán, Araceli. “Educational Dramatics: The Instructional Qualities of Fefu and Her Friends”, Revista de Estudios Norteamericanos 17 (2013): 45-59.

Schanke, Robert A. Queer Theatre and the Legacy of Cal Yeomans, paper edition. Palgrave Macmillan, 2013.

Stubbs, Naomi J. Cultivating National Identity through Performance: American Pleasure Gardens and Entertainment. New York: Palgrave, 2013.

Wilmeth, Don and Milly S. Barranger. Eds. The Group Theatre: Passion, Politics, and Performance in the Depression Era. By Helen Krich Chinoy. New York: Palgrave Macmillan, 2013.

Witham, Barry B. A Sustainable Theatre: Jasper Deeter at Hedgerow. Palgrave Macmillan, 2013. The 2014 John W. Frick Award Winner.

Young, Harvey. The Cambridge Companion to African American Theatre. Cambridge University Press, 2013.

Young, Harvey. Theatre and Race. Palgrave Macmillan, 2013.

2012

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.

Bay-Cheng, Sarah. “Theatre is Media: Some Principles for a Digital Historiography of Performance” Theater 42.2 (2012): 27-41.

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.

Callens, Johan. “Amos Poe’s Neo-Noir Stage.” Journal of Adaptation in Film and Performance  5.2 (2012): 109-125.

DuComb, Christian. “Staging Violence in Pig Iron Theatre Company’s Anodyne.Theatre Journal 64.2 (May 2012): 197- 211.

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. “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.

Frick, John W.  Uncle Tom’s Cabin on the American Stage and Screen.  New York: Palgrave Macmillan, 2012.

Goldstein, Tara. Staging Harriet’s House: Writing and Producing Research-Informed Theatre. New York, NY: Peter Lang, 2012.

González Crespán, Araceli. “Las mujeres de Lillian Hellman: una voz poderosa en un teatro de hombres”, Asparkía. Investigació Feminista 23 (2012): 49-71.

Hughes, Amy E. Spectacles of Reform: Theater and Activism in Nineteenth-Century America. University of Michigan Press, 2012.

Jones, Megan Sanborn,“Mormons and Melodrama.” In Mormons and American Popular Culture.  Ed. Michael Hunter.  New York: ABC-CLIO Praeger.  2012.

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.

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. (Also 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.

Mitchell, Koritha.  “James Baldwin, Performance Theorist, Sings the Blues for Mister Charlie.”  American Quarterly 64.1 (March 2012):  33 – 60.

Ozieblo, Barbara. & Noelia Hernando- Real. Eds. Performing Gender Violence: Plays by Contemporary American Women Dramatists. New York: Palgrave, Macmillan, 2012.

Ozieblo, Barbara. “The Victim and the Audience’s Pleasure: An Exploration
of Carson Kreitzer’s Self Defense and Stefanie Zadravec’s Honey Brown
Eyes.” In Ozieblo and Hernando-Real, Eds. Performing Gender Violence.
155-172.

Ozieblo, Barbara. “From Shirtwaist to Overalls: Cognition and the Embodiment of Abuse in Two Plays by Naomi Wallace.” Jose Antonio Gurpegui & Isabel Duran. Eds. The Backyard of the U.S. Mansion. Alcaá de Henares: Biblioteca Benjamin Franklin, 2012. 115-130.

Plunka, Gene A.  Staging Holocaust Resistance.  New York:  Palgrave Macmillan, 2012.

Schrum, Stephen, and Sheedy Elliot. “Building a Virtual Reality Model of Artaud’s Theatre of Cruelty.” Metaverse Creativity. Dec. 2012.

2011

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.

Bernstein, Robin. Racial Innocence: Performing American Childhood and Race from Slavery to Civil Rights. New York: New York University Press, 2011.

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 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.

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. (web) “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>

Frick, John. “Lost!  Or What to Do When Your Principal Primary Document is Missing.”  Performing Arts Resource  (2011).

Frick, John. “A New Look at an Old Play:  Re-reading Royall Tyler’s The Contrast.”  Nineteenth-Century Literary Criticism.   (2011).

Frick, John. “The Death of Little Eva,”  Uncle Tom’s Cabin Online.  Harriet Beecher Stowe Center Blog.  (2011).

Geary, Fonzie D., II. “A Plague on Both Your Houses: Mr. Anderson Goes to Washington,” New England Theatre Journal 22 (2011): 1-22.

Hecht, Stuart. Transposing Broadway: Jews, Assimilation, and the American Musical. Palgrave MacMillan, 2011.

King, William Davies, ed. Part of a Long Story, by Agnes Boulton (McFarland, 2011)

Osborne, Beth. Staging the People: Community and Identity in the Federal Theatre Project. Palgrave, 2011.

Ozieblo, Barbara. “Pornography of Violence’: Strategies of Representation
in Plays by Naomi Wallace, Stefanie Zadravec, and Lynn Nottage.” Journal
of American Drama and Theatre
32, 1 (Winter 2011): 67-80.

Ozieblo, Barbara. “Affecting the Audience: Gina Gionfriddo’s After Ashley,” in Violence in American Drama: Essays on its Staging, Meaning, and Effects, Alfonso Ceballos Muñoz et al. Eds. Jefferson, N.C.: McFarland, 2011. 267-78.

Ryder, Andrew D. “Doing Tennessee Justice in Oregon.”  Performing Arts Resources 28 (2011).  A Tyranny of Documents: The Performing Arts Historian as Film Noir Detective.  Ed. Stephen Johnson. 272-79.

Ryder, Andrew D. “Here on the Edge: Community-Building Theatre During World War II.” Platform ejournal of Theatre and Performing Arts 5.2 (2011): online. http://www.rhul.ac.uk/dramaandtheatre/platform/issues/vol5-no2-communitiesandperformance-spring2011.aspx.

2010

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.

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.

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.

Black, Cheryl. “Abject No More: Authority and Authenticity in the Theatrical Career of Rose McClendon,” Theatre History Studies, Vol. 30, 2010.

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.

Callens, Johan, “Anne-Marie Boisvert, Manon Oligny, and Thomas Israel: Three Artists in Search of Cindy Sherman.”  The Drama Review 54.1 (T205) (Spring 2010): 39-58.

Callens, Johan, “Auto/Biography in American Performance.”  Auto/Biography and Mediation.  Ed. Alfred Hornung.  Heidelberg: Universitätsverlag, Winter 2010.  287-303.

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).

Cosdon, Mark.  The Hanlon Brothers:  From Daredevil Acrobatics to Spectacle Pantomime, 1833 – 1931.  Carbondale, IL: Southern Illinois University Press, 2010.

Cosdon, Mark. “Band of Brothers,” Dance Gazette:  The Journal of London’s Royal Academy of Dance, 2010.

Connolly, Thomas F. Genus Envy: Nationalities, Identities, and The Performing Body Of Work. Cambria Press, 2010.

Cosdon, Mark. “’Introducing Occidentals to an Exotic Art,’ Mei Lanfang in New York,” in China’s Greatest 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. “Band of Brothers,” Dance Gazette:  The Journal of London’s Royal Academy of Dance, 2010.

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).

Harding, James M.  Cutting Performances: Collage Events, Feminist Artists, and theAmerican Avant-Garde.  2010.

Hughes, Amy E. “Spectacles of Insanity: The Delirium Tremens on the AntebellumStage.” Journal of American Drama and Theatre 22, no. 2 (Spring 2010): 7-24.

King, William Davies. Another Part of a Long Story: Literary Traces of Eugene O’Neill and Agnes Boulton (Michigan, 2010).

Richardson, Dorothy B. Moving Diorama in Play: William Dunlap’s Comedy A Trip to Niagara (1828). Youngstown, NY: Teneo Press, 2010.

Ryder, Andrew D. “To the Heart of It: American Theatre from Hedgerow to the Oregon Coast.” Theatre Annual 63 (2010): 28-46.

Ryder, Andrew D. “‘Living from Moment to Moment’: Kermit Sheets, Theatre, and the Fine Arts at Waldport, 1942-1946.” The Western States Theatre Review 16 (2010). http://www.cwu.edu/~nwdc/nwdc/journal_archives.htm.

Schroeder, Patricia R.  “Passing for Black: Coon Songs and the Performance of Race.”  Journal of American Culture 33.2 (June 2010): 139-53.

Senelick, Laurence, ed.  The American Stage: Writing on Theater from Washington Irvingto Tony Kushner. 2010.

Solomon, Rakesh. Albee in Performance (Bloomington: Indiana University Press, 2010. (Winner of Performing Arts Bronze Medal at the Independent Publisher Book Awards in New York City, 2011).

2009

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

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. “„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.

Bogar, Thomas A. American Presidents Attend the Theatre: The Playgoing Experiences of Each Chief Executive. McFarland. 2009.

Callens, Johan. “The Wooster Group’s Hamlet, according to the True Original Copies.”  Theatre Journal  61.4 (Dec. 2009): 539-561.

Callens, Johan (ed. and introd.). Crossings: David Mamet’s Work in Different Genres andMedia. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009.

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.

Fletcher, Anne.  Rediscovering Mordecai Gorelik: Scene Design and the AmericanTheatre.  Carbondale, IL: SIU Press, 2009.

Friedman, Sharon, ed. Feminist Theatrical Revisions of Classic Works. Jefferson, NC and London: McFarland Press, 2009.

Grossman, Barbara Wallace.  A Spectacle of Suffering: Clara Morris on the AmericanStage. 2009.

Jones, Megan Sanborn.  Performing American Identity in Anti-Mormon Melodrama. 2009.

Magnuson, Landis.  “‘No roof except the sky’: The Rise and Fall of Airdomes in AmericanPopular Entertainment.” Theatre Symposium.  2009.

Masequesmay, Gina and Sean Metzger, editors. Embodying Asian/American Sexualities, Lanham: Lexington Books.  2009.

Mayer, David. Stagestruck Filmmaker: D.W. Griffith and the American Theatre. Iowa City, IA: University of Iowa Press, 2009.

Nathans, Heather S.  Slavery and Sentiment on the American Stage, 1787-1861: Liftingthe Veil of Black.  2009.

Plunka, Gene A.  Holocaust Drama:  The Theater of Atrocity.  2009

Robinson, Marc.  The American Play, 1787-2000.  2009.

2008

Anderson, Lisa M.  Black Feminism in Contemporary Drama.  2008.

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.

Callens, Johan.  “Mediating Phèdre.” Theater und Medien/Theater and the Media. Grundlagen – Analysen – Perspektiven: Eine Bestandsaufnahme.  Kultur- und Medientheorie.  2008.

Callens, Johan.  “The Double Recursiveness of Postmodern Dance.” PAJ: A Journal of Performance and Art. 2008.

Chansky, Dorothy.  “Usable Performance Feminism for Our Time: Reconsidering BettyFriedan.”  Theatre Journal.  2008.

Demastes, Bill.  Spalding Gray’s America.   2008.

Eynat-Confino, Irene.  On the Uses of the Fantastic in Modern Theatre: Cocteau,Oedipus, and the Monster.  2008.

Fisher, James (ed). “We Will Be Citizens”: New Essays on Gay and Lesbian Theatre. 2008.

Fisher, James. Understanding Tony Kushner. 2008.

Fleming, John.  Romulus Linney: Maverick of the American Theater. 2008.

Fleming, John.  Tom Stoppard’s Arcadia.  2008.

Friedman, Sharon, ed.  Feminist Theatrical Revisions of Classic Works.  2008.

Geis, Deborah R.  Suzan-Lori Parks.  2008.

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 GreatShakespearian Tragedian on the Bicentennial Anniversary of his Birth.  2008.

Kelly, Baron.  Review of “Ira Aldridge: The African Roscius,” Theatre Topics.  2008.

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.

Novick, Julius.  Beyond the Golden Door: Jewish American Drama and Jewish AmericanExperience. 2008.

Ozieblo, Barbara and Jerry Dickey.  Susan Glaspell and Sophie Treadwell.  2008.

Poole, Ralph J. and Ilka Saal (eds.). Passionate Politics: The Cultural Work of AmericanMelodrama from the Early Republic to the Present. 2008.

Sebesta, Judith A. and Bud Coleman (eds.). Women in American Musical Theatre. 2008.