<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=Windows-1252">
<style type="text/css" style="display:none;"><!-- P {margin-top:0;margin-bottom:0;} --></style>
</head>
<body dir="ltr">
<div id="divtagdefaultwrapper" style="font-size:12pt;color:#000000;background-color:#FFFFFF;font-family:Calibri,Arial,Helvetica,sans-serif;">
<p><span id="ms-rterangepaste-start"></span></p>
<div>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style=""><span style="font-size:10.0pt;
mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:"Times New Roman"" lang="EN-US">TRI</span></span><span style="font-size:10.0pt;mso-fareast-font-family:"Times New Roman";
mso-bidi-font-family:"Times New Roman"" lang="EN-US">
41.2 is now available at <a style="color: blue; text-decoration: underline;" href="https://urldefense.proofpoint.com/v2/url?u=http-3A__journals.cambridge.org_jid-5FTRI&d=BQMFAw&c=8hUWFZcy2Z-Za5rBPlktOQ&r=rQPSMXMhP_i8Z29C0_LdyhLwjjSqX9j__qRLRmUsH2I&m=qn2XDQOHjoltTq_5Nw3S12bkIRQ3p2GRwO_fS_jgJS8&s=oqyjSqYTSzUTWU60hGOYWl6kSWoGJejcIlM4Po4qlhA&e=" title="Ctrl+Click or tap to follow the link" data-saferedirecturl="https://www.google.com/url?hl=en&q=https://urldefense.proofpoint.com/v2/url?u%3Dhttp-3A__journals.cambridge.org_jid-5FTRI%26d%3DBQMFAw%26c%3D8hUWFZcy2Z-Za5rBPlktOQ%26r%3DrQPSMXMhP_i8Z29C0_LdyhLwjjSqX9j__qRLRmUsH2I%26m%3Dqn2XDQOHjoltTq_5Nw3S12bkIRQ3p2GRwO_fS_jgJS8%26s%3DoqyjSqYTSzUTWU60hGOYWl6kSWoGJejcIlM4Po4qlhA%26e%3D&source=gmail&ust=1465515655961000&usg=AFQjCNGUbRpdRuafN7JD8H1-ltnlybQ0FA">
http://journals.cambridge.org/<wbr>jid_TRI</a> . It contains:</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;mso-fareast-font-family:
"Times New Roman";mso-bidi-font-family:"Times New Roman"" lang="EN-US"> </span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Editorial: Behind the Scenes</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">PAUL RAE</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 101-105</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S030788331600002X, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US"> </span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Articles:</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">The Rise and Fall of Modelbooks, Notate and the Brechtian Method: Documentation
and the Berliner Ensemble's Changing Roles as a Theatre</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Company</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">DAVID BARNETT</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 106-121</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000031, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Becoming Hamlet for Only Nine Days: Korean Workers and Documentary Theatre</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">HYUNSHIK JU</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 122-134</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000043, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Politicizing the Pastoral: Taiwan's Homeland Performances</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">CATHERINE DIAMOND</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 135-150</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000055, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">‘The Money Was Real Money’: Talking with Audiences about Corruption, Domestic
Violence and Aesthetic Values during the Roverman Festival of</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Plays at the Ghana National Theatre</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">AWO MANA ASIEDU</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 151-167</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000067, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">‘Sometimes Uncomfortable, Sometimes Arousing’: The Slow Dramaturgy of Casey
Jenkins's Craftivist Performances</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">LARA STEVENS</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 168-180</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000079, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US"> </span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Reviews:</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Theatre and Aural Attention: Stretching Ourselves. By George Home-Cook.
Basingstoke and New York: Palgrave, 2015. Pp. ix + 229. £55 Hb/£52.35</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Kindle.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">David Roesner</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 181-182</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000213, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Theatres of Learning Disability: Good, Bad, or Plain Ugly? By Matt Hargrave.
Basingstoke and New York: Palgrave Macmillan, 2015. Pp. xiv + 290.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">£55 Hb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Sarah Marinucci</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 182-183</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000225, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Contemporary Black British Playwrights: Margins to Mainstream. By Lynette
Goddard. Basingstoke and New York: Palgrave Macmillan, 2015. Pp. xii</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">+ 255. £55/Ä$90 Hb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Christine Matzke</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 184-185</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000237, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Latin Numbers: Playing Latino in Twentieth-Century U.S. Popular Performance.
By Brian Eugenio Herrera. Ann Arbor: University of Michigan Press,</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">2015. Pp. xiii + 272. £78.95/Ä$85 Hb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Carla Della Gatta</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 185-186</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000249, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Queer Theatre and the Legacy of Cal Yeomans. By Robert A. Schanke. New
York: Palgrave Macmillan, 2011. Pp. xxi + 239 + 21 illus. Ä$100 Hb; Ä$29</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Pb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Daniel Ciba</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 186-187</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000250, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Befriending the Commedia dell'Arte of Flaminio Scala: The Comic Scenarios.
By Natalie Crohn Schmitt. Toronto: University of Toronto Press, 2014.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Pp. 344. £54.99/Ä$80 Hb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Peter Jordan</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 187-188</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000262, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">The Comic Offense: Larry David, Tina Fey, Stephen Colbert, and Dave Chappelle.
By Rick DesRochers. New York: Bloomsbury Academic, 2014. Pp.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">viii + 154 + 5 illus. Ä$29.95 Pb; Ä$100 Hb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Sara Farah</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 188-189</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000274, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Visions and Revisions: Performance, Memory, Trauma. Edited by Bryoni Trezise
and Caroline Wake. Copenhagen: Museum Tusculanum Press,</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">University of Copenhagen, 2013. Pp. 236. Ä$52/€40 Pb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Sandra D'Urso</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 189-190</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000286, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Refrains for Moving Bodies: Experience and Experiment in Affective Spaces.
By Derek P. McCormack. Durham, NC: Duke University Press, 2014.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Pp. 280 + 17 illus. £15.68/Ä$23.95 Pb; £55.61/Ä$84.95 Hb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Kallee Lins</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 191-192</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000298, Published online by Cambridge University
Press 07 Jun 2016</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Deleuze and Beckett. Edited by S. E. Wilmer and Audronė Žukauskaitė. Basingstoke
and New York: Palgrave Macmillan, 2015. Pp. v + 253. £55/Ä$90</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Hb.</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">Tony Fisher</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:#3333FF" lang="EN-US">Theatre Research International, Volume 41, Issue 02, July 2016, pp 192-193</span></p>
<p style="margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria;"><span style="font-size:10.0pt;font-family:"˝\]ˇ";
mso-bidi-font-family:"˝\]ˇ";color:black" lang="EN-US">doi: 10.1017/S0307883316000304, Published online by Cambridge University
Press 07 Jun 2016</span><span style="font-size:10.0pt" lang="EN-US"></span></p>
</div>
<span id="ms-rterangepaste-end"></span><br>
<p></p>
<p><br>
</p>
<div id="Signature">
<div id="divtagdefaultwrapper" style="font-size:12pt; color:#000000; background-color:#FFFFFF; font-family:Calibri,Arial,Helvetica,sans-serif">
<p>Dr Sarah Balkin</p>
<p>Assistant Editor, <i>Theatre Research International</i></p>
<p>Lecturer in English & Theatre Studies, University of Melbourne<br>
</p>
</div>
</div>
</div>
<p> </p>
<p> </p>
<p><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">C</span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">ambridge University Press is the publishing business of the University of Cambridge with VAT
registered number GB 823 8476 09. Our principal office is at University Printing House, Shaftesbury Road, Cambridge, CB2 8BS, United Kingdom.</span></p>
</body>
</html>