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Marcus TAN (Dr) | Assistant Professor | Visual and Performing Arts | National Institute of Education | Nanyang Technological University Singapore NIE 3-03-61, 1 Nanyang Walk, Singapore 637616 Tel: (65) 6790-3552 GMT+8h | Fax: (65) 6896-9279 |
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Associate Editor, Journal of Interdisciplinary Voice Studies <br class="">
Convenor, Music Theatre Working Group, International Federation for Theatre Research<br class="">
Online Content Manager, Theatre Research International <br class="">
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<b class="">ISSN: 0307-8833, EISSN: 1474-0672</b><br class="">
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<span style="font-size: 14px; color: rgb(0, 114, 207);" class=""><b class="">Theatre Research International</b><br class="">
<br class="">
</span><span style="color: rgb(0, 114, 207);" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91ed6b028991c5803b236608669af55d3b846e6bb56700b486e4626ac75d03eb01c52916d88f7ce25f9ce318a7e5232f85de815a609dbd95a2" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Volume
44 / Issue 2, July 2019</a></span><br class="">
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<b class="">Published Online August 2019</b><br class="">
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<span style="font-size: 14px;" class="">Editorial</span></td>
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91790925f858942bcb0a1eafb5c7129f2781ec867f6cef4ece472e25d5cafeb3f4ba56f1112809ad5f6ec2ba5713ceb8d2ba3c808d1b9a6c15" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Editorial:
Experiments in Time</a><br class="">
<span style="font-size: 10px !important;" class="">FINTAN WALSH</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91790925f858942bcb0a1eafb5c7129f2781ec867f6cef4ece472e25d5cafeb3f4ba56f1112809ad5f6ec2ba5713ceb8d2ba3c808d1b9a6c15" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 115 - 117<br class="">
doi: 10.1017/S0307883319000233 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class="">Articles</span></td>
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91900b562b0d52384231cdb4625e5e351299cb8b6d7165e6d4caa79e0d406495c88236d839e408d3eebaf92f05c5ef1406c2f1c4d4bf638512" style="color: rgb(0, 114, 207); text-decoration: none;" class="">An
Eye for an Eye: the Hapticality of Collaborative Photo-Performance in<span class="Apple-converted-space"> </span><span class="italic" style="font-style: italic;">Native Women of South India</span></a><br class="">
<span style="font-size: 10px !important;" class="">SHARANYA</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91900b562b0d52384231cdb4625e5e351299cb8b6d7165e6d4caa79e0d406495c88236d839e408d3eebaf92f05c5ef1406c2f1c4d4bf638512" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 118 - 134<br class="">
doi: 10.1017/S0307883319000014 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b918fc5867a6dce7af4474afeeb4bd591771509d06f53551cf7f2918731f6f9adbfe570b0ae4943ce79eeaa4bd25610e3453a3a7e9f5526d020" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Alfred
Dampier's ‘Shakespearean Fridays’</a><br class="">
<span style="font-size: 10px !important;" class="">RICHARD FOTHERINGHAM</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b918fc5867a6dce7af4474afeeb4bd591771509d06f53551cf7f2918731f6f9adbfe570b0ae4943ce79eeaa4bd25610e3453a3a7e9f5526d020" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 135 - 152<br class="">
doi: 10.1017/S0307883319000026 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91f27dc242b425b64e723efa72536cfd451f3e64d99741d0d2640567571b65f3c5cdb4a81e219bddf7284c93f33fa400e77187c63f4bb1e63c" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Sophie
Tucker, Racial Hybridity and Interracial Relations in American Vaudeville</a><br class="">
<span style="font-size: 10px !important;" class="">MARIA DE SIMONE</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91f27dc242b425b64e723efa72536cfd451f3e64d99741d0d2640567571b65f3c5cdb4a81e219bddf7284c93f33fa400e77187c63f4bb1e63c" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 153 - 170<br class="">
doi: 10.1017/S0307883319000038 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9195921f0daf52ce1bbd7aff4e56213ad481d8558cd8d2558df48017d55a92e87ca4ac5bd598e829da9f6dd8b5c32274cc1aadc92873bded2c" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Total
Heroism: Reinterpreting Sartre's<span class="Apple-converted-space"> </span><span class="italic" style="font-style: italic;">Morts sans sépulture</span><span class="Apple-converted-space"> </span>(<span class="italic" style="font-style: italic;">The Victors</span>)
for the Chinese Stage</a><br class="">
<span style="font-size: 10px !important;" class="">SHOUHUA QI, WEI ZHANG</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9195921f0daf52ce1bbd7aff4e56213ad481d8558cd8d2558df48017d55a92e87ca4ac5bd598e829da9f6dd8b5c32274cc1aadc92873bded2c" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 171 - 188<br class="">
doi: 10.1017/S030788331900004X Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class="">Dossier: The Theatre Historian Today</span></td>
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9135b320d32b3675e9500f434f241407ee2a43921d194e57b196a76ead5870808ba603815e71575e50328944f2e0be592b5fbcc7646a690d34" style="color: rgb(0, 114, 207); text-decoration: none;" class="">On
Being a Twenty-First-Century Theatre Historian</a><br class="">
<span style="font-size: 10px !important;" class="">DAVID WILES</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9135b320d32b3675e9500f434f241407ee2a43921d194e57b196a76ead5870808ba603815e71575e50328944f2e0be592b5fbcc7646a690d34" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 189 - 195<br class="">
doi: 10.1017/S0307883319000051 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b912153fb1f696df0b6601fddcd90e9c5e0bfe885c05b154a060b1310bdf6c713b735056eaedc27855138a333d4de74862aca66e2936a3cf4f6" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Documenting
Theatrical and Performative Philippines: Possibilities of a Task and a Practice</a><br class="">
<span style="font-size: 10px !important;" class="">OSCAR TANTOCO SERQUIÑA</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b912153fb1f696df0b6601fddcd90e9c5e0bfe885c05b154a060b1310bdf6c713b735056eaedc27855138a333d4de74862aca66e2936a3cf4f6" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 196 - 199<br class="">
doi: 10.1017/S0307883319000063 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9137ce94f801f4320d6eb5a50645572256b7b4d9f6b4ae1436fbfcfe7664e9925971131e58fa10506919854e9d295eaee03d8b06505130d67d" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
History Studies in Latin America Today: Issues in Common</a><br class="">
<span style="font-size: 10px !important;" class="">LORENA VERZERO</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9137ce94f801f4320d6eb5a50645572256b7b4d9f6b4ae1436fbfcfe7664e9925971131e58fa10506919854e9d295eaee03d8b06505130d67d" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 200 - 202<br class="">
doi: 10.1017/S0307883319000075 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9148ee627b23860dfb0bd8525b973888c86a58e4702bd30f0eafe1d428bd17e66741e887a78c24fefa2e73481807b9e78dea586c8ab404a3a5" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Doing
‘Social Practice’: Political Strategies of Truth Generation for the Friendly Neighbourhood Theatre Historian</a><br class="">
<span style="font-size: 10px !important;" class="">PROMONA SENGUPTA</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9148ee627b23860dfb0bd8525b973888c86a58e4702bd30f0eafe1d428bd17e66741e887a78c24fefa2e73481807b9e78dea586c8ab404a3a5" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 203 - 205<br class="">
doi: 10.1017/S0307883319000087 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class="">Double Take</span></td>
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914b4ef2e136d9ce4aaec1f16fb79ecfe3f9c6117ff515ecc32e581d378b7e8ff03aa81e2ebec61de8e5fc76937a545440ad01416c6bc5e3ae" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">The
Feminist Spectator as Critic: Second Edition</span>. By Jill Dolan. Ann Arbor: University of Michigan Press, 2012. Pp. xliv + 168 + 4 illus. £19.38/$24.95 Pb.</a><br class="">
<span style="font-size: 10px !important;" class="">Sarah Gorman</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914b4ef2e136d9ce4aaec1f16fb79ecfe3f9c6117ff515ecc32e581d378b7e8ff03aa81e2ebec61de8e5fc76937a545440ad01416c6bc5e3ae" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 206 - 209<br class="">
doi: 10.1017/S0307883319000099 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class="">New Books</span></td>
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91132d10a154985855d8ede7e2480ceff83b543d040824f7d2835cce50b4d67b410c009829aa841ad4fa0fab39961e72fbf6888cf8d7d8ba28" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Buhol-Buhol/Entanglement:
Contemporary Theatre in Metropolitan Manila</span>. By Sir Anril Pineda Tiatco. Bern: Peter Lang AG, 2017. Pp. xiv + 233. £51.00/$74.95 Pb.</a><br class="">
<span style="font-size: 10px !important;" class="">Laura Cabochan</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91132d10a154985855d8ede7e2480ceff83b543d040824f7d2835cce50b4d67b410c009829aa841ad4fa0fab39961e72fbf6888cf8d7d8ba28" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 209 - 210<br class="">
doi: 10.1017/S0307883319000105 Published Online on 2 August 2019<br class="">
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<td align="left" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.5;" class="">
<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91d90599954a7dafe85c361aaf0b690d27e2288c8decaa4debb06f1ed20bcc63920704b74f1614a20ed7439560b3aa2bd2d02273fad83d8639" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Choreomania:
Dance and Disorder</span>. By Kélina Gotman. Oxford: Oxford University Press, 2018. Pp. xvi + 361. £71/$99 Hb; £36.49/$49.95 Pb.</a><br class="">
<span style="font-size: 10px !important;" class="">Rebecca Chaleff</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91d90599954a7dafe85c361aaf0b690d27e2288c8decaa4debb06f1ed20bcc63920704b74f1614a20ed7439560b3aa2bd2d02273fad83d8639" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 210 - 211<br class="">
doi: 10.1017/S0307883319000117 Published Online on 2 August 2019<br class="">
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<td align="left" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.5;" class="">
<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91831d7e381272c6b5aef263a016bff3fad7b11219075b5bfce28cec715b95887d55fa7103f3dec559487b3d42fe26d102e52b012016e493ab" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Art,
Madness and Society: Beyond Illness</span>. By Anna Harpin. Abingdon: Routledge, 2018. Pp. xii + 227. £110.00/$150.00 Hb; £29.99/$39.95 Pb.</a><br class="">
<span style="font-size: 10px !important;" class="">Matt Hargrave</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91831d7e381272c6b5aef263a016bff3fad7b11219075b5bfce28cec715b95887d55fa7103f3dec559487b3d42fe26d102e52b012016e493ab" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 211 - 212<br class="">
doi: 10.1017/S0307883319000129 Published Online on 2 August 2019<br class="">
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<td align="left" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.5;" class="">
<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9107fa4a46228b687bdeb790a09d0c0464c47a86a76a2350e066cec1e21a97c349bc815a55d364102e5d70d94c7c6bd60e62a06a2c18c4048e" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Political
Acts: Women in Northern Irish Theatre, 1921–2012</span>. By Fiona Coleman Coffey. Syracuse: Syracuse University Press, 2016. Pp. xx + 294. $65 Hb; $29.95 Pb.</a><br class="">
<span style="font-size: 10px !important;" class="">Tara Harney-Mahajan</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9107fa4a46228b687bdeb790a09d0c0464c47a86a76a2350e066cec1e21a97c349bc815a55d364102e5d70d94c7c6bd60e62a06a2c18c4048e" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 213 - 214<br class="">
doi: 10.1017/S0307883319000130 Published Online on 2 August 2019<br class="">
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<td align="left" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.5;" class="">
<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914cd23d5b753940cd82594743ab458b86c854ab8eb11c8da189ac4eeb7ae91285ecc34b883871dba5c236f1aac09c3ed95c7c4655ec63d2d8" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Applied
Theatre: Economies</span>. Edited by Molly Mullen. London and New York: Bloomsbury, 2019. Pp. xiv + 265. £64.80/$73.44 Hb.</a><br class="">
<span style="font-size: 10px !important;" class="">Oluchi J. Igili</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914cd23d5b753940cd82594743ab458b86c854ab8eb11c8da189ac4eeb7ae91285ecc34b883871dba5c236f1aac09c3ed95c7c4655ec63d2d8" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 214 - 215<br class="">
doi: 10.1017/S0307883319000142 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b910aa69e2605098fc443e9636a991a92d077bdc4de0b446f8faf624b3d8e0150d18c8feae132f5ba5e22cdd02e1f578124a036601a1e63a4c0" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Fiery
Temporalities in Theatre and Performance: The Initiation of History</span>. By Maurya Wickstrom. London and New York: Bloomsbury, 2018. Pp. x + 249. £81.00 Hb.</a><br class="">
<span style="font-size: 10px !important;" class="">Eleanor Massie</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b910aa69e2605098fc443e9636a991a92d077bdc4de0b446f8faf624b3d8e0150d18c8feae132f5ba5e22cdd02e1f578124a036601a1e63a4c0" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 215 - 216<br class="">
doi: 10.1017/S0307883319000154 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91caa5a9575d2126c0e308cf678270aadac085a5f71917a8dcc73500ac4566dbb64c80dd1c2d8451094835f0c193958b68f4bfe3fcff034fcc" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Performing
Dramaturgy</span>. By Fiona Graham. Wellington: Playmarket, 2017. Pp. iii + 190. NZ$40 Pb.</a><br class="">
<span style="font-size: 10px !important;" class="">Sharon Mazer</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91caa5a9575d2126c0e308cf678270aadac085a5f71917a8dcc73500ac4566dbb64c80dd1c2d8451094835f0c193958b68f4bfe3fcff034fcc" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 216 - 217<br class="">
doi: 10.1017/S0307883319000166 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91d50c67171349500b5a86550d6e889398a0924b0708d982f2fe0f497ac3882e0fbe81a0a6608a407ef8e3778369ab25bf53107a36af0d01a8" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Experiencing
Liveness in Contemporary Performance: Interdisciplinary Perspectives</span>. Edited by Matthew Reason and Anja Mølle Lindelof. New York and London: Routledge, 2016. Pp. xvi + 304. $155 Hb; $57.95 Ebook.</a><br class="">
<span style="font-size: 10px !important;" class="">Julia Nawrot</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91d50c67171349500b5a86550d6e889398a0924b0708d982f2fe0f497ac3882e0fbe81a0a6608a407ef8e3778369ab25bf53107a36af0d01a8" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 218 - 219<br class="">
doi: 10.1017/S0307883319000245 Published Online on 2 August 2019<br class="">
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<table width="100%" border="0" cellpadding="0" cellspacing="0" class="">
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<td align="left" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.5;" class="">
<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9166773cc0260e8c49e830e80b6230e6c2dbdb2005a570a0cf91f99deec209bc0904a2a6d1dfbc8bcb8275f8a48e9dc7058e856bf39f0cb234" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Between
Jerusalem and Athens: Israeli Theatre and the Classical Tradition</span>. By Nurit Yaari. Oxford: Oxford University Press, 2018. Pp. xvii + 460. £100 Hb.</a><br class="">
<span style="font-size: 10px !important;" class="">Freddie Rokem</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9166773cc0260e8c49e830e80b6230e6c2dbdb2005a570a0cf91f99deec209bc0904a2a6d1dfbc8bcb8275f8a48e9dc7058e856bf39f0cb234" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 219 - 220<br class="">
doi: 10.1017/S030788331900018X Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91a36e46a8af8980e6ba75c139711f433a537ec1b84c2d0a574c4b3f2aeabee526bd8dbdaf81e07cd43c9575617d577861096972fc26e72d38" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">Australian
Theatre after the New Wave: Policy, Subsidy and the Alternative Artist</span>. By Julian Meyrick. Leiden: Brill Rodopi, 2017. Pp. xxii + 264 + 13 illus. $82.00/€71 Hb.</a><br class="">
<span style="font-size: 10px !important;" class="">Elizabeth Schafer</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91a36e46a8af8980e6ba75c139711f433a537ec1b84c2d0a574c4b3f2aeabee526bd8dbdaf81e07cd43c9575617d577861096972fc26e72d38" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 220 - 221<br class="">
doi: 10.1017/S0307883319000191 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91fd9266918eefc1c8104f0c41d5849ea8d899297bfb9c45acc68eebe26e712351af8498819382fb53df3e6079abf6c20181079702de0ba745" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">New
Directions in Teaching Theatre Arts</span>. Edited by Anne Fliotsos and Gail S. Medford. Cham: Palgrave Macmillan, 2018. Pp. xix + 310 + 7 illus. $199.99 Hb.</a><br class="">
<span style="font-size: 10px !important;" class="">Collin Vorbeck</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b91fd9266918eefc1c8104f0c41d5849ea8d899297bfb9c45acc68eebe26e712351af8498819382fb53df3e6079abf6c20181079702de0ba745" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 221 - 222<br class="">
doi: 10.1017/S0307883319000208 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b915e51ca4741dd9f20ee592575897f74a2b04aa79ae8fa6c6ca60aff4d9f9f69f9ff7767e4290b1f55fab201cf733bafe49fa5a98bc0ec5530" style="color: rgb(0, 114, 207); text-decoration: none;" class=""><span class="italic" style="font-style: italic;">The
Creative Critic: Writing as/about Practice</span>. Edited by Katja Hilevaara and Emily Orley. London: Routledge, 2018. Pp. xxii + 304. £110.00 Hb; £29.99 Pb; £15.00 Ebook.</a><br class="">
<span style="font-size: 10px !important;" class="">Stuart Wood</span><span class="Apple-converted-space"> </span><br class="">
</span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b915e51ca4741dd9f20ee592575897f74a2b04aa79ae8fa6c6ca60aff4d9f9f69f9ff7767e4290b1f55fab201cf733bafe49fa5a98bc0ec5530" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 223 - 223<br class="">
doi: 10.1017/S030788331900021X Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class="">Books received</span></td>
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<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914f697ee108021b5f984d764c0e9932b487f3eb1fca2fc1488cf76875403cb136fd89d77eff2d50b4187f62183ee1fd6902c69edc521eca94" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Books
Received</a><br class="">
<span style="font-size: 10px !important;" class=""></span></span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914f697ee108021b5f984d764c0e9932b487f3eb1fca2fc1488cf76875403cb136fd89d77eff2d50b4187f62183ee1fd6902c69edc521eca94" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp 224 - 225<br class="">
doi: 10.1017/S0307883319000221 Published Online on 2 August 2019<br class="">
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<span style="font-size: 14px;" class="">Front Cover (OFC, IFC) and matter</span></td>
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</table>
</td>
</tr>
</tbody>
</table>
<table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse; width: 600px; background-color: rgb(255, 255, 255); background-position: initial initial; background-repeat: initial initial;" class="">
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<table width="100%" border="0" cellpadding="0" cellspacing="0" class="">
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<td align="left" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.5;" class="">
<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914d00864dcfc461c070cd0d36a77928f623de0c109b1a04c0eca72a3cfc95544adf732d3f862478f74ff9b3bbfa17ee1b3db61d3e8728eda1" style="color: rgb(0, 114, 207); text-decoration: none;" class="">TRI
volume 44 issue 2 Cover and Front matter</a><br class="">
<span style="font-size: 10px !important;" class=""></span></span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b914d00864dcfc461c070cd0d36a77928f623de0c109b1a04c0eca72a3cfc95544adf732d3f862478f74ff9b3bbfa17ee1b3db61d3e8728eda1" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp f1 - f4<br class="">
doi: 10.1017/S0307883319000257 Published Online on 2 August 2019<br class="">
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<td align="left" style="padding: 10px 10px 0px; font-family: Helvetica, Arial, sans-serif; font-size: 12px; color: rgb(89, 89, 89); border-top-width: 1px; border-top-style: solid; border-top-color: rgb(204, 204, 204);" class="">
<span style="font-size: 14px;" class="">Back Cover (IBC, OBC) and matter</span></td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
<table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse; width: 600px; background-color: rgb(255, 255, 255); background-position: initial initial; background-repeat: initial initial;" class="">
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<td align="left" class="articleIndent" style="padding: 0px 60px;">
<table width="100%" border="0" cellpadding="0" cellspacing="0" class="">
<tbody class="">
<tr class="">
<td align="left" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 1.5;" class="">
<span style="font-size: 14px;" class=""><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9162a73e1a3583bd9e9116df2184f52664832272d88932395a1798cd99025a34052b2a798aefe2b585e3754009a25649d4a0bb1f075f65b8a3" style="color: rgb(0, 114, 207); text-decoration: none;" class="">TRI
volume 44 issue 2 Cover and Back matter</a><br class="">
<span style="font-size: 10px !important;" class=""></span></span><a href="https://click.updates.cambridge.org/?qs=a474d198a30b0b9162a73e1a3583bd9e9116df2184f52664832272d88932395a1798cd99025a34052b2a798aefe2b585e3754009a25649d4a0bb1f075f65b8a3" style="color: rgb(0, 114, 207); text-decoration: none;" class="">Theatre
Research International, Volume 44 / Issue 2</a>, July 2019, pp b1 - b2<br class="">
doi: 10.1017/S0307883319000269 Published Online on 2 August 2019<br class="">
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