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<h1 style="margin-bottom:30.0pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black;font-weight:normal">Modern Drama</span></i><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";font-weight:normal"><br>
</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";font-weight:normal">Volume 58, Number 1, Spring 2015<br>
<a href="http://bit.ly/MD_MUSE581">http://bit.ly/MD_MUSE581</a><o:p></o:p></span></h1>
<p style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">This issue contains:
<o:p></o:p></span></p>
<h4 style="margin:0in;margin-bottom:.0001pt"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Rethinking Postcolonial Melodrama and Affect
<o:p></o:p></span></h4>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black"><a href="https://muse.jhu.edu/results?section1=author&search1=Sheetal%20Majithia"><span style="color:black;text-decoration:none">Sheetal
Majithia</span></a> <o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;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). <i><a href="http://bit.ly/MD_MUSE581a">Continue reading >></a></i><o:p></o:p></span></p>
<h4 style="margin:0in;margin-bottom:.0001pt"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">A Postcolonial Reading of Lesia Ukraïnka’s
<i>Orhiia</i> <o:p></o:p></span></h4>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Anastassiya Andrianova
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;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.
<i><a href="http://bit.ly/MD_MUSE581b">Continue reading >><span style="font-style:normal"><o:p></o:p></span></a></i></span></p>
<h4 style="margin:0in;margin-bottom:.0001pt"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Adaptation, Fidelity, and the “Reek” of Aesthetic Ideology: Susan Sontag’s
<i>Lady from the Sea</i> <o:p></o:p></span></h4>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Olivia Noble Gunn
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">This article considers Susan Sontag’s adaptation of Henrik Ibsen’s The Lady from the Sea (1888).
<i><a href="http://bit.ly/MD_MUSE581c">Continue reading >></a></i><o:p></o:p></span></p>
<h4 style="margin:0in;margin-bottom:.0001pt"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">The Imagistic Theatre of Robert Whitman
<o:p></o:p></span></h4>
<h4 style="margin-top:0in"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";font-weight:normal">Nadja Rottner
<o:p></o:p></span></h4>
<h4 style="margin:0in;margin-bottom:.0001pt"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";font-weight:normal">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. <i><a href="http://bit.ly/MD_MUSE581d">Continue reading >></a></i><o:p></o:p></span></h4>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Vanishing Acts: Sarah Kane’s Texts for Performance and Postdramatic Theatre
<o:p></o:p></span></h4>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Matthew Roberts
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:14.0pt;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. <i><a href="http://bit.ly/MD_MUSE581e">Continue reading >></a></i><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Folk Modernism: Zora Neale Hurston’s Gestural Drama
<o:p></o:p></span></h4>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Elin Diamond
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Zora Neale Hurston’s desire to dramatize the folklore she collected in the late 1920s is well known.
<i><a href="http://bit.ly/MD_MUSE581f">Continue reading >></a></i><o:p></o:p></span></p>
<h3><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Reviews<o:p></o:p></span></h3>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Performing Archives / Archives of Performance</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""> ed. by Gunhild
Borggreen and Rune Gade (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">David Pellegrini
<br>
<a href="http://bit.ly/MD_MUSE581g">http://bit.ly/MD_MUSE581g</a><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Contemporary Women Playwrights into the Twenty-First Century</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">
ed. by Penny Farfan and Leslie Ferris (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Lisa M. Anderson
<br>
<a href="http://bit.ly/MD_MUSE581h">http://bit.ly/MD_MUSE581h</a><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">
ed. by Karen Jürs-Munby, Jerome Carroll, and Steve Giles (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Julia Jarcho
<br>
<a href="http://bit.ly/MD_MUSE581i">http://bit.ly/MD_MUSE581i</a><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Performance and Community: Commentary and Case Studies</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""> ed.
by Caoimhe McAvinchey (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Claire Syler
<br>
<a href="http://bit.ly/MD_MUSE581j">http://bit.ly/MD_MUSE581j</a><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Recasting Transnationalism through Performance: Theatre Festivals in Cape Verde, Mozambique, and Brazil</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">
by Christina S. McMahon (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Sarah J. Townsend
<br>
<a href="http://bit.ly/MD_MUSE581k">http://bit.ly/MD_MUSE581k</a><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Mapping Irish Theatre: Theories of Space and Place</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""> by Chris
Morash and Shaun Richards (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Lisa Fitzgerald
<br>
<a href="http://bit.ly/MD_MUSE581l">http://bit.ly/MD_MUSE581l</a><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Theatrical Liberalism: Jews and Popular Entertainment in America</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">
by Andrea Most (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Harley Erdman
<br>
<a href="http://bit.ly/MD_MUSE581m">http://bit.ly/MD_MUSE581m</a><o:p></o:p></span></p>
<h4 style="margin-bottom:0in;margin-bottom:.0001pt"><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Staging Faith: Religion and African American Theater from the Harlem Renaissance to World War II</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">
by Craig R. Prentiss (review) <o:p></o:p></span></h4>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Paige A. McGinley
<br>
<a href="http://bit.ly/MD_MUSE581n">http://bit.ly/MD_MUSE581n</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><o:p> </o:p></span></p>
<div style="mso-element:para-border-div;border:none;border-bottom:solid windowtext 1.0pt;padding:0in 0in 1.0pt 0in">
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COMPLETE<i> </i>ARCHIVE NOW AVAILABLE!</span></b><b><span style="font-size:14.0pt;line-height:120%;font-family:"Calibri","sans-serif""><br>
</span></b><i><span style="font-size:14.0pt;line-height:120%;font-family:"Calibri","sans-serif"">Modern Drama</span></i><span style="font-size:14.0pt;line-height:120%;font-family:"Calibri","sans-serif"">’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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