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<p class="MsoPlainText"><b><i><span style="font-size:12.0pt">Modern Drama<o:p></o:p></span></i></b></p>
<p class="MsoPlainText"><span style="font-size:12.0pt">Volume 58, Number 1, Spring 2015<br>
<a href="http://bit.ly/MD581">http://bit.ly/MD581</a><o:p></o:p></span></p>
<p class="MsoPlainText"><span style="font-size:12.0pt"><br>
</span>This issue contains: <o:p></o:p></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">Rethinking Postcolonial Melodrama and Affect<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif";color:#404040">Sheetal Majithia<br>
<br>
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif"">This article rethinks melodrama’s history, uses, and effects, through an analysis of Deepa Mehta’s film
<i>Earth</i> (1998), an adaptation of Bapsi Sidhwa’s novel on the partition of British India,
<i>Cracking India</i> (1991). </span><a href="http://bit.ly/MD581a"><span style="font-family:"Calibri","sans-serif";color:red">Read more >></span></a><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">A Postcolonial Reading of Lesia Ukraïnka’s
<i>Orhiia</i><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif";color:#404040">Anastassiya Andrianova<br>
<br>
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif"">Lesia Ukraïnka’s
<i>Orhiia</i> [<i>The Orgy</i>] (1913) is traditionally read as an anti-colonial allegory for Ukraine’s subjugation to Russia, an approach supported by Ukraine’s history and Ukraïnka’s biography.
</span><a href="http://bit.ly/MD581b"><span style="font-family:"Calibri","sans-serif";color:red">Read more >></span></a><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">Adaptation, Fidelity, and the “Reek” of Aesthetic Ideology: Susan Sontag’s
<i>Lady from the Sea</i><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif";color:#404040">Olivia Noble Gunn<br>
<br>
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif"">This article considers Susan Sontag’s adaptation of Henrik Ibsen’s
<i>The Lady from the Sea</i> (1888). </span><a href="http://bit.ly/MD581c"><span style="font-family:"Calibri","sans-serif";color:red">Read more >></span></a><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">The Imagistic Theatre of Robert Whitman<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif";color:#404040">Nadja Rottner<br>
<br>
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif"">This essay discusses the experimental theatre of Robert Whitman who, in 1960, turned toward performance with the sensibility of a process-oriented painter
and sculptor. </span><a href="http://bit.ly/MD581d"><span style="font-family:"Calibri","sans-serif";color:red">Read more >></span></a><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">Vanishing Acts: Sarah Kane’s Texts for Performance and Postdramatic Theatre<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif";color:#404040">Matthew Roberts<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif"">Written as texts for performance, Sarah Kane’s
<i>Crave</i> and <i>4.48 Psychosis</i> challenge the traditional dichotomy between dramatic literature and performance and reveal that the concept of presence often determines the authority that is invested either in performance or in text whenever the two
are opposed. </span><a href="http://bit.ly/MD581e"><span style="font-family:"Calibri","sans-serif";color:red">Read more >></span></a><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">Folk Modernism: Zora Neale Hurston’s Gestural Drama<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif";color:#404040">Elin Diamond<br>
<br>
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><span style="font-family:"Calibri","sans-serif"">Zora Neale Hurston’s desire to dramatize the folklore she collected in the late 1920s is well known.
</span><a href="http://bit.ly/MD581f"><span style="font-family:"Calibri","sans-serif";color:red">Read more >></span></a><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040">
<o:p></o:p></span></b></p>
<p><b><span style="font-family:"Calibri","sans-serif"">Reviews<br>
</span></b><b><span style="font-family:"Calibri","sans-serif";color:windowtext">GUNHILD BORGGREEN and RUNE GADE, eds.</span></b><span style="font-family:"Calibri","sans-serif";color:windowtext">,
<i>Performing Archives / Archives of Performance</i>, reviewed by David Pellegrini<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">PENNY FARFAN and LESLIE FERRIS, eds.</span></b><span style="font-family:"Calibri","sans-serif"">,
<i>Contemporary Women Playwrights into the Twenty-First Century</i>, reviewed by Lisa M. Anderson<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">KAREN JÜRS-MUNBY, JEROME CARROLL, and STEVE GILES, eds.
</span></b><i><span style="font-family:"Calibri","sans-serif"">Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance</span></i><span style="font-family:"Calibri","sans-serif"">, reviewed by Julia Jarcho<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">CAOIMHE MCAVINCHEY, ed.</span></b><span style="font-family:"Calibri","sans-serif"">,
<i>Performance and Community: Commentary and Case Studies</i>, reviewed by Claire Syler<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">CHRISTINA S. MCMAHON</span></b><span style="font-family:"Calibri","sans-serif"">,
<i>Recasting Transnationalism through Performance: Theatre Festivals in Cape Verde, Mozambique, and Brazil</i>, reviewed by Sarah J. Townsend<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">CHRIS MORASH and SHAUN RICHARDS</span></b><span style="font-family:"Calibri","sans-serif"">,
<i>Mapping Irish Theatre: Theories of Space and Place</i>, reviewed by Lisa Fitzgerald<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">ANDREA MOST</span></b><span style="font-family:"Calibri","sans-serif"">,
<i>Theatrical Liberalism: Jews and Popular Entertainment in America</i>, reviewed by Harley Erdman<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif"">CRAIG R. PRENTISS</span></b><span style="font-family:"Calibri","sans-serif"">,
<i>Staging Faith: Religion and African American Theater from the Harlem Renaissance to World War II</i>, reviewed by Paige A. McGinley<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-line-height-alt:0pt"><b><span style="font-family:"Calibri","sans-serif";color:#404040"><o:p> </o:p></span></b></p>
<div style="mso-element:para-border-div;border:none;border-bottom:solid windowtext 1.0pt;padding:0in 0in 1.0pt 0in">
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;border:none;padding:0in"><i><span style="font-family:"Calibri","sans-serif";color:black"><o:p> </o:p></span></i></p>
</div>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><i><span style="font-family:"Calibri","sans-serif";color:black">Modern Drama</span></i><span style="font-family:"Calibri","sans-serif";color:black"> was founded in 1958 and is the most prominent journal
in English to focus on dramatic literature. The terms "modern" and "drama" are the subject of continuing and fruitful debate, but the journal has been distinguished by the excellence of its close readings of both canonical and lesser-known dramatic texts from
a range of methodological perspectives. The journal features refereed articles written from a variety of geo-political points of view which enhance our understanding, both formal and historical, of the dramatic literature of the past two centuries; there is
also an extensive book review section.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Calibri","sans-serif";color:red">COMPLETE ARCHIVE NOW AVAILABLE!</span></b><b><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></b></p>
<p class="MsoNormal"><i><span style="font-family:"Calibri","sans-serif";color:black">Modern Drama
</span></i><span style="font-family:"Calibri","sans-serif";color:black">'s complete archive of regular and special thematic issues, including over 3000 articles and reviews from 1958 to the present, is now available at
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</span></a><span style="font-family:"Calibri","sans-serif"">and </span><a href="http://muse.jhu.edu/journals/modern_drama/" target="_blank"><span style="font-family:"Calibri","sans-serif"">Project MUSE</span></a><span style="font-family:"Calibri","sans-serif";color:black">.<o:p></o:p></span></p>
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