Text and Presentation

Text & Presentation


Since 1980, The Comparative Drama Conference Series has been publishing the best papers presented at its annual meetings, keeping readers current in scholarship and performance aesthetics in drama internationally. Text & Presentation’s articles have framed dramatic discourse, identified emerging trends, and challenged established views. Each volume consists of about a dozen articles which have passed the mandated anonymous peer review. For back issues, visit www.McFarlandpub.com.

Participants in the conference are invited to submit their papers for publication consideration to the editor of Text & Presentation. The editor of this year’s publication, Dr. Jay Malarcher, can be reached at jay.malarcher@mail.wvu.edu. Manuscripts should be formatted according to the T & P style. Authors are expected to expand their manuscripts beyond presentation-length conference papers into full-length scholarly essays, with a maximum length of 25 double-spaced pages (including notes, works cited, and photos). Each volume also features several book reviews by noted scholars.

Visit: TP_Style_Guidelines_2017-1

Any questions regarding paper submissions should be sent to the Editor at jay.malarcher@mail.wvu.edu.

Table of Contents for Text and Presentation, 2017

Acknowledgments  vii

Preface  1

A Conversation with Lisa Loomer (Amy Muse)  5

Advancing Accessibility: The “Radical Deaf Theatre” of Aaron Sawyer’s The Vineyard (Mary Lutze)  19

Irreconcilable Differences: Charles I, Henrietta Maria, and Jones’s and Townshend’s Court Masques (Mark Scott)  40

Form and Frenzy in Caryl Churchill’s and David Lan’s A Mouthful of Birds (Melinda Powers)  55

Skepticism in Marlowe’s Doctor Faustus: Examining Man’s Inefficacy through Suspect Language (Emily L. Sharrett)  70

Reading Ahead: An Analysis of Editorial Prolegomena in Shakespeare’s Complete Works  (Melinda M. Marks)  86

Jonson Is for Closers: Reflections on “Original Practice” (Joe Falocco)  95

“You Ain’t Nothing but a ­Hoochie-Mama”: Explorations of Black Female Promiscuity in Contemporary Media Productions (Devair Jeffries)  106

The Drama of the Ungifted Child or, Where’s the Old Confidence, Biff? (Doug Phillips)  122

A Chameleon Anthology: Williams’s Source Plays Preview Variant Baby Dolls (Jeffrey B. Loomis)  140

James and Nora Joyce’s “Greatest Love Story Never Told”: Jonathan Brielle’s Musical Himself and Nora (William Hutchings)  153

On Bearing Witness to a Poetic Ritual: Robert Wilson’s Deafman Glance as Seen by János Pilinszky (Enikő Sepsi)  167

Out of the Classroom and into the Community: A “Practical Ethnography” in Directing Foreign Language Theatre (Scott D. Taylor) 180

What Is the Future of la compagnie in French Theatre? (Cynthia G. ­Running-Johnson)  195

Review of Literature: Selected Books

Daniel Sack, ed. Imagined Theatres: Writing for a Theoretical Stage (Ariel Watson)  209

Julie Bates. Beckett’s Art of Salvage: Writing and Material Imagination, 1932–1987 (Robert Reginio)  213

Jean-Michel Rabaté. Think, Pig! Beckett at the Limit of the Human  (Doug Phillips)  217

Richard Preiss and Deanne Williams, eds. Childhood, Education and the Stage in Early Modern England (Jennifer Heller)  222

Adrienne Macki Braconi. Harlem’s Theaters: A Staging Ground for Community, Class, and Contradiction, 1923–1939 (Beck Holden)  226

Penny Farfan. Performing Queer Modernism (Rachel Busse)  230

Index  235


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