Titles in Series: Contributions in Drama and Theatre Studies

• "Vast Encyclopedia": The Theatre of Thornton Wilder
• A History of Polish Theater, 1939-1989: Spheres of Captivity and Freedom
• A Laboratory of Impure Forms: The Plays of Tadeusz Rozewicz
• A Search for a Postmodern Theater: Interviews with Contemporary Playwrights
• A Whirlwind in Dublin: The Plough and the Stars Riots
• Actor as Anti-Character: Dionysus, the Devil, and the Boy Rosalind
• America's Musical Stage: Two Hundred Years of Musical Theatre
• American Labor on Stage: Dramatic Interpretations of the Steel and Textile Industries in the 1930s
• American Popular Entertainment: Papers and Proceedings of the Conference on the History of American Popular Entertainment
• Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s America
• Assessing the Achievement of J. M. Synge
• Audience Participation: Essays on Inclusion in Performance
• Bernhardt and the Theatre of Her Time
• Beyond Naturalism: A New Realism in American Theatre
• Broadway Talks: What Professionals Think About Commercial Theater in America
• Carlo Gozzi: Translations of The Love of Three Oranges, Turandot, and The Snake Lady with A Bio-critical Introduction
• Challenging the Hierarchy: Collective Theatre in the United States
• Christopher Marlowe and the Renaissance of Tragedy
• Clifford Odets and American Political Theatre
• Comedy in the Weimar Republic: A Chronicle of Incongruous Laughter
• Confronting Tennessee Williams's A Streetcar Named Desire: Essays in Critical Pluralism
• David Hare: Moral and Historical Perspectives
• Divine Madness and the Absurd Paradox: Ibsen's Peer Gynt and the Philosophy of Kierkegaard
• Documentary Theatre in the United States: An Historical Survey and Analysis of Its Content, Form, and Stagecraft
• Dramatists and the Bomb: American and British Playwrights Confront the Nuclear Age, 1945-1964
• Eugene O'Neill in China: An International Centenary Celebration
• Eugene O'Neill in Ireland: The Critical Reception
• Eugene O'Neill's Century: Centennial Views on America's Foremost Tragic Dramatist
• Every Week, A Broadway Revue: The Tamiment Playhouse, 1921-1960
• Experimenters, Rebels, and Disparate Voices: The Theatre of the 1920s Celebrates American Diversity
• Fathers and Daughters in Shakespeare and Shaw
• Fredric March: Craftsman First, Star Second
• From Belasco to Brook: Representative Directors of the English-Speaking Stage
• From Class to Caste in American Drama: Political and Social Themes Since the 1930s
• From Farce to Metadrama: A Stage History of The Taming of the Shrew, 1594-1983
• From Stanislavsky to Barrault: Representative Directors of the European Stage
• Garrick Claims the Stage: Acting as Social Emblem in Eighteenth-Century England
• George Bernard Shaw and the Socialist Theatre
• George Frederick Cooke: Machiavel of the Stage
• George Sand's Gabriel
• German Actors of the Eighteenth and Nineteenth Centuries: Idealism, Romanticism, and Realism
• Gordon Craig's Moscow Hamlet: A Reconstruction
• Gower Champion: Dance and American Musical Theatre
• Greek Theatre Practice
• Greek Tragedy on the American Stage: Ancient Drama in the Commercial Theater, 1882-1994
• Hamlet on Stage: The Great Tradition
• Harold Pinter and the New British Theatre
• Homosexualities in the English Theatre: From Lyly to Wilde
• Ibsen and Early Modernist Theatre, 1890-1900
• Is the Theatre Still Dying?
• Israel Horovitz: A Collection of Critical Essays
• Jekyll and Hyde Adapted: Dramatizations of Cultural Anxiety
• Jung's Advice to the Players: A Jungian Reading of Shakespeare's Problem Plays
• Maria Irene Fornes and Her Critics
• Menander and the Making of Comedy
• Michel Saint-Denis and the Shaping of the Modern Actor
• Musical Theatre in America: Papers and Proceedings of the Conference on the Musical Theatre in America
• On Playing Shakespeare: Advice and Commentary from Actors and Actresses of the Past
• Orson Welles on Shakespeare: The W.P.A. and Mercury Theatre Playscripts
• Oscar Asche, Orientalism, and British Musical Comedy
• Playwright versus Director: Authorial Intentions and Performance Interpretations
• Playwrights and Acting: Acting Methodologies for Brecht, Ionesco, Pinter, and Shepard
• Prophet of the New Drama: William Archer and the Ibsen Campaign
• Radical Stages: Alternative History in Modern British Drama
• Reinventing Drama: Acting, Iconicity, Performance
• Rethinking Folk Drama
• Revolution in the Theatre: French Romantic Theories of Drama
• Richard Wagner and Festival Theatre
• Richard's Himself Again: A Stage History of Richard III
• Rupture, Representation, and the Refashioning of Identity in Drama from the North of Ireland, 1969-1994
• Sam Shepard and the American Theatre
• Sam Shepard's Metaphorical Stages
• Serf Actor: The Life and Art of Mikhail Shchepkin
• Shadows of Realism: Dramaturgy and the Theories and Practices of Modernism
• Shakespeare's Unorthodox Biography: New Evidence of an Authorship Problem
• Shakespearean Intertextuality: Studies in Selected Sources and Plays
• Sophocles and the Tragedy of Athenian Democracy
• Sophocles and the Tragedy of Athenian Democracy
• Spotlight on the Child: Studies in the History of American Children's Theatre
• Strategies of Drama: The Experience of Form
• Synge and Irish Nationalism: The Precursor to Revolution
• Technology in American Drama, 1920-1950: Soul and Society in the Age of the Machine
• Ten Seasons: New York Theatre in the Seventies
• Thatcher's Theatre: British Theatre and Drama in the Eighties
• The Actor Speaks: Actors Discuss Their Experiences and Careers
• The Age of Hair: Evolution and Impact of Broadway's First Rock Musical
• The Best Actors in the World: Shakespeare and His Acting Company
• The Contemporary British History Play
• The Critics' Canon: Standards of Theatrical Reviewing in America
• The Dawning of American Drama: American Dramatic Criticism, 1746-1915
• The Dramatic Art of David Storey: The Journey of a Playwright
• The Glamour of Grammar: Orality and Politics and the Emergence of Sean O'Casey
• The Gymnasium of the Imagination: A Collection of Children's Plays in English, 1780-1860
• The Letters and Notebooks of Mary Devlin Booth
• The Simple Stage: Its Origins in the Modern American Theater
• The Stage Clown in Shakespeare's Theatre
• The Theatre Team: Playwright, Producer, Director, Designers, and Actors
• The Theatre of Meyerhold and Brecht
• Theatre for Working-Class Audiences in the United States, 1830-1980
• Theatre, Opera, and Audiences in Revolutionary Paris: Analysis and Repertory

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