Titlebook: Interrogating America through Theatre and Performance; William W. Demastes,Iris Smith Fischer Book 2007 Palgrave Macmillan, a division of

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,The Savage Other: “Indianizing” and Performance in Nineteenth-Century American Culture, later, William Demastes invited the editors and authors of the articles that volume contained to again consider the subject of “performing America” for the joint American Theatre and Drama Society-University of Kansas Conference, “Writing, Teaching, Performing America” (in Lawrence, March 2005). Th

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,Drama and Cultural Pluralism in the America of Susan Glaspell’s ,s of America, given the diverse nature of its inhabitants even from the early days of its colonization. Contemporary American theatre has endeavoured on numerous occasions to provide definitions of what an American is. Working against the traditional WASP identity that has represented the “real” Ame

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,Beneath the Horizon: Pipe Dreams, Identity, and Capital in Eugene O’Neill’s First Broadway Play,—it is in his first Broadway play, . (1920), that the dualistic nature of American existence comes to theatrical fruition. A story about two brothers who become embroiled in a romantic triangle that causes each to reject the truth of his inner self, resulting in tragedy for all, the play resonated p

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Vernacularizing Brecht: The Political Theatre of the New Deal,colleagues had no idea what epic theatre was, and even more importantly, they had no interest in it. Brecht’s encounter with the professional leftist American theatre ended in a spectacular scandal: Theater Union, New York’s foremost proletarian stage of the time, which had agreed to a production of

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Choreographing America: Redefining American Ballet in the Age of Consensus,on the matter was . dance critic John Martin. Martins preoccupation with this issue had been building for several years, and echoed similar concerns in theatre and literature circles of how to create a unique and original American aesthetic. But the debate in the ballet world was intensified when da

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Arthur Miller: In Memoriam,d been writing plays for almost exactly seventy of those years. Virtually nothing he wrote failed to find an audience, if not at first then eventually, if not in America then elsewhere in the world. Along with the plays were short stories, films, and novels. In one sense, writing was his religion. I

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