CONTENTS OF THE VOLUMES
Volume 1 1900-1939
William Dean Howells, ‘Some New American Plays', Harper's
Weekly, 48, January 16, 1904, pp. 88, 90.
Florence Kiper, ‘Some American Plays from the Feminist Viewpoint',
Forum, 51, 1914, pp. 921-931.
W. E. B. Du Bois, ‘The
Negro and the American Stage', The Crisis, June 1924, pp. 56-57.
Alain Locke, ‘The Drama of Negro Life', Theatre Arts Monthly, October 1926, pp. 701-706.
Eulalie Spence, ‘A Criticism of the Negro Drama as it Relates to the
Negro Dramatist and Artist' Opportunity, June 1928, p. 188.
Mary McCarthy, ‘The American Realist Playwrights', Mary McCarthy's Theatre Chronicles:
1937-1962 (New York: Farrar Straus, 1963) pp. 209-229.
Eric Bentley, ‘Comedy and the Comic Spirit in America', in What Is Theatre?
(New York: Atheneum, 1968), pp. 404-414.
Linda Ben-Zvi, ‘"Murder, She Wrote":
The Genesis of Susan Glaspell's Trifles', Theatre Journal 44, May 1992, pp. 141-162.
J. Ellen Gainor, ‘The Verge', in Susan Glaspell in
Context: American Theater, Culture, and Politics, 1915-48 (Ann Arbor: University of Michigan Press, 2001), pp. 143-170.
Martha Gilman Bower, Zora Neale Hurston in "Color Struck": Under the Gaze: Ethnicity
and the Pathology of Being in the Plays of Johnson, Hurston, Childress, Hansberry, and Kennedy (Westport, CT: Praeger,
2003), pp. 39-62.
Dennis G. Jerz, Machinal in Technology
in American Drama, 1920-1950 (Westport, CT: Greenwood Press, 2003), pp. 33-53.
Bentley, ‘Trying to Like O'Neill', The Kenyon Review, 14, July 1952, pp. 476-492.
Timo Tiusanen, The Hairy Ape in O'Neill's Scenic Images (Princeton,
NJ: Princeton University Press, 1968), pp. 112-127.
Bogard, Long Day's Journey Into Night in Contour in Time: The Plays of Eugene O'Neill, rev. ed (New
York: Oxford University Press, 1988), pp. 422-445.
Strange Interlude in The Inner Strength of Opposities: O'Neill's Novelistic Drama and the Melodramatic
Imagination (Athens: U of Georgia P, 1994), pp. 105-115.
Laurin Porter, ‘The Banished Prince Revisited: A Feminist
Reading of More Stately Mansions', The Eugene O'Neill Review, 19, Spring/Fall 1995, pp. 7-28.
Philip J. Hanson, ‘The Emperor Jones: Naturalistic Tragedy
in Hemispheric Perspective', American Drama 5, Spring 1996, pp. 23-43.
Mark A. Mossman, ‘Eugene O'Neill and "The Myth of America": Ephraim
Cabot as the American Adam', The Eugene O'Neill Review, 23, Spring/Fall 1999, pp. 49-59.
Arthur Arent, ‘The Technique of the Living Newspaper', Theatre Arts November 1938, pp. 820-825
R. Baird Shuman, ‘The Shifting Pacifism of Robert E.
Sherwood', South Atlantic Quarterly, 65 1966, pp. 382-389.
David C. Gild, ‘Psychodrama on Broadway: Three Plays of Psychodrama by Philip Barry', Markham
Review, 1970, pp. 65-74.
Gerald Weales, ‘The
Very High Comedy of Philip Barry,' Commonweal, 103, August 1976, pp. 564-566.
Jeffrey D. Mason, ‘Maxwell Anderson's Dramatic Theory and Key Largo', North Dakota
Quarterly 48, Summer 1980, pp. 38-42.
‘Chaos and Cruelty in the Theatrical Space: Horse Eats Hat, Hellzapoppin' and the Pleasure of
Farce in Depression America' The Journal of American Drama and Theatre , 4, Spring 1992, pp. 5-21.
Joseph McLaren, ‘From Protest to Soul Fest: Langston Hughes' Gospel
Plays' Langston Hughes Review, 15 Spring 1998, pp. 49-61.
Sarah Bay-Cheng, ‘Atom and Eve: A Consideration of Gertrude Stein's Doctor Faustus Lights the Lights',
The Journal of American Drama and Theatre, 12, Spring 2000, pp. 46-59.
Patraka, ‘Lillian Hellman's Watch on the Rhine: Realism, Gender, and Historical Crisis,' Modern Drama,
32, 1, 1989, pp. 128-145.
Mary Titus, ‘Murdering the
Lesbian: Lillian Hellman's the Children's Hour,' Tulsa Studies in Women's Literature, 10, 2,
1991, pp. 215-232.
Volume 2 1940-1959
Charles A. Carpenter, ‘American Playwrights and the Birth of the Atomic Age' in Dramatists and the
Bomb: American and British Playwrights Confront the Nuclear Age, 1945-1964 (Westport, CT: Greenwood Press, 1999), pp.
Arthur Miller, ‘Tragedy and the Common Man', New York Times, Feb.
27,1949, sec. 2, pp.
Raymond Williams, ‘The Realism of Arthur Miller', Critical Quarterly 1, Summer 1959,
Thomas E. Porter, ‘Acres of Diamonds: Death
of a Salesman' in Myth and Modern American Drama (Detroit: Wayne State University Press, 1969), pp. 127-152.
Lawrence D. Lowenthal, ‘Arthur Miller's Incident at Vichy:
A Sartrean Interpretation', Modern Drama, 1, 1975, pp. 29-41.
Robert A. Martin, ‘Arthur Miller's The Crucible: Backgrounds and Sources' Modern Drama,
20, 1977, pp. 279-292.
Steven R. Centola, ‘Unblessed
Rage for Order: Arthur Miller's After the Fall', Arizona Quarterly, 39, 1, Spring 1983, pp. 62-70.
Wendy Schissel, ‘Re(dis)covering the Witches in Arthur Miller's
The Crucible, A Feminist Reading', Modern Drama 37, 1994, pp. 461-473.
Brenda Murphy, ‘Informers' in Congressional Theatre: Dramatizing McCarthyism
on Stage, Film, and Television (Cambridge: CUP, 1999), pp. 206-225.
Susan C. W. Abbotson, ‘Issues of Identity in Broken Glass: A Humanist Response to a Postmodern World',
Journal of American Drama and Theatre, 11, Winter 1999, pp. 67-80.
Terry Otten, ‘The Price' in The Temptation of Innocence in the Dramas of Arthur Miller (Columbia:
University of Missouri Press, 2002), pp. 145-158.
Bigsby, ‘"Resurrection Blues"', in Arthur Miller: A Critical Study (Cambridge: Cambridge University
Press, 2005), pp. 421-436.
Esther Merle Jackson, ‘The Synthetic
Myth' in The Broken World of Tennessee Williams (Madison: University of Wisconsin Press, 1965), pp. 43-67.
Nancy M. Tischler, ‘The Distorted Mirror: Tennessee Williams' Self-Portraits',
Mississippi Quarterly, 25, 1972, pp. 389-403.
Ann Corrigan, ‘Realism and Theatricalism in A Streetcar Named Desire', Modern Drama, 19, 1976,
Thomas P. Adler, ‘When Ghosts Supplant Memories:
Tennessee Williams' Clothes for a Summer Hotel', Southern Literary Journal, 19, 2, Spring 1987,
Philip C. Kolin, ‘Sleeping with Caliban: The Politics
of Race in Tennessee Williams's Kingdom of Earth', Studies in American Drama, 1945-Present,
8, 2, 1993, pp. 140-162.
Robert F. Gross, ‘The Pleasures of Brick: Eros and the Gay
Spectator in Cat on a Hot Tin Roof', The Journal of American Drama and Theatre, 1, 9, Winter 1997, pp.
John M. Clum,'Williams: Masculinity and Homophobia',
in Still Acting Gay: Male Homosexuality in Modern Drama (New York: St. Martin's Griffin, 2000), pp. 122-135.
Annette J. Saddik, ‘"The Inexpressible Regret of All Her Regrets":
Tennessee Williams's Late Plays as Artaudian Theater of Cruelty', in Philip C. Kolin, ed., The Undiscovered Country:
The Later Plays of Tennessee Williams (New York: Peter Lang, 2002), pp. 5-24.
Michael Paller, ‘A True Story of Our Time', in Gentlemen Callers: Tennessee Williams,
Homosexuality, and Mid-Twentieth Century Broadway Drama (New York: Palgrave Macmillan, 2005), pp. 130-155.
Jane Courant, ‘Social and Cultural Prophecy in the Works of William Inge', Studies
in American Drama, 1945-Present, 6, 2, 1991, pp. 135-151.
Keyssar, ‘Sounding the Rumble of Dreams Deferred: Lorraine Hansberry's A Raisin in the Sun', in The
Curtain and the Veil: Strategies in Black Drama (New York: Burt Franklin, 1981), pp. 113-146.
Brooke Horvath and Lisa Logan, ‘Nobody Knows Best: Carson McCullers's Plays
as Social Criticism', Southern Quarterly, 33, 1995, pp. 23-33.
Volume 3 1960-1979
Edward Albee, ‘Which Theatre is the Absurd One?' New
York Times Magazine 25 February 1962, pp. 31, 64, 66.
Kauffmann, ‘Homosexual Drama and Its Disguises', New York Times, 23 January 1966, sec. 2, p. 1
Larry Neal, ‘The Black Arts Movement', TDR, 12, 1968,
Margaret B. Wilkerson, ‘Redefining Black Theatre',
Black Studies , 10, 1979, pp. 32-42.
‘Realism, Narrative, and the Feminist Playwright-A Problem of Reception' Modern Drama, 32, March 1989,
Patricia R. Schroeder, ‘American Drama,
Feminist Discourse, and Dramatic Form: In Defense of
Journal of Dramatic Theory and Criticism 7, 1993, pp. 103-118.
Richard Schechner, ‘Who's Afraid of Edward Albee?', Drama
Review, 7, 3, 1963, pp. 7-10.
Alan Schneider, ‘Who
So Afraid', Drama Review, 7, 3, 1963, pp. 10-13.
Cohn, ‘The Verbal Murders of Edward Albee' in Dialogue in American Drama (Bloomington: Indiana University
Press, 1971), pp. 130-149.
Thomas P. Adler, ‘Albee's
Seascape: Humanity at the Second Threshold', Renascence, 31, 1979, pp. 107-114.
Matthew C. Roudané, ‘Thematic Unity in the Theater of Edward Albee',
Publications of the Mississippi Philological Association, 1986, pp. 93-100.
Gene A. Plunka, ‘Edward Albee's A Delicate Balance: A Rite of Passage from Sterility
to Tranquility,' Journal of Evolutionary Psychology, 9, 1-2, March 1988, pp. 87-95.
Deborah R. Geis, ‘Staging Hypereloquence: Edward Albee and the Monologic Voice',
American Drama, 2, Spring 1993, pp. 1-11.
R. Deans. "Albee's Substitute Children: Reading Adoption as a Performative." Journal of Dramatic Theory
and Criticism 13 (1999): 57-78.
Foster Hirsch, ‘Performance Theatre: Dionysus in 69 and The Serpent,'
Kansas Quarterly, 3, 2, 1971, pp. 32-40.
Jeffers, ‘Bullins, Baraka, and Elder: The Dawn of Grandeur in Black Drama' CLA Journal 16,1972, pp.
Robert Tener, ‘The Corrupted Warrior Heroes: Amiri
Baraka's The Toilet', Modern Drama, 17, 2, 1974, pp. 207-215.
W. D. E. Andrews, ‘Theater of Black Reality: The Blues Drama of Ed Bullins',
Southwest Review, 65, 1979, pp. 78-90.
W. Fenn, ‘Viet Rock' in Levitating the Pentagon: Evolutions in the American Theatre of the Viet Nam
Era (Newark, DE: University of Delaware Press, 1992) pp. 38-43.
Maria Irene Fornes
Deborah Geis, ‘Wordscapes
of the Body: Performative Language as Gestus in Maria Irene Fornes's Plays', Theatre Journal, 42, 1990,
Diane Lynn Moroff, ‘Fefu and Her Friends'
in Fornes: Theater in the Present Tense (Ann Arbor: University of Michigan Press, 1996), 33-57.
Silverman Zinman, ‘Search and Destroy: The Drama of the Vietnam War', Theatre Journal, 42, 1, 1990,
Elin Diamond, ‘Rethinking Identification: Kennedy,
Freud, Brecht', The Kenyon Review, 15, 1993, , pp. 86-99.
Tejumola Olaniyan, ‘Ntozake Shange' in Scars of Conquest/Masks of Resistance: The Invention of Cultural
Identities in African, African-American, and Caribbean Drama (New York: Oxford University Press, 1995), pp. 116-138.
Carla J. McDonough, ‘David Rabe' in Staging Masculinity:
Male Identity in Contemporary American Drama (New York: Garland, 1997), pp. 103-132.
Martin J. Jacobi, ‘The Comic Vision of Lanford Wilson', Studies in the Literary Imagination,
21, Fall 1998, pp. 119-134.
Gene A. Plunka ‘The Black
Comedy of Urban Neurosis: John Guare's The House of Blue Leaves', Studies in the Humanities, 25, 1-2,
1998, pp. 38-52.
Konstantinos Blatanis, ‘Arthur Kopit,
Indians' in Popular Culture Icons in Contemporary American Drama (Madison, NJ: Fairleigh Dickinson UP, 2003),
Volume 4 1980-2000
Issues of Ethnicity
W. B. Worthen, ‘Staging América: The Subject of History in Chicano/a Theatre',
Theatre Journal, 49, May 1997, pp. 101-120.
Wiley, ‘Teatro Chicano and the Seduction of Nostalgia', MELUS, 23, 1998, pp. 99-
Jon D. Rossini, ‘Marisol,
Angels, and Apocalyptic Migrations', American Drama, 10, 2001, pp. 1-20.
James S. Moy, ‘David Henry Hwang's M. Butterfly and Philip Kan Gotanda's
Yankee Dawg You Die: Repositioning Chinese American Marginality on the American Stage', Theatre Journal,
42, 1, 1990, pp. 48-56.
Tucker Orbison, ‘Mythic Levels in Shepard's True West', Modern Drama 27,
1984, pp. 506-519.
Lynda Hart, ‘Sam Shepard's Pornographic
Visions', Studies in the Literary Imagination, 21, Fall 1988, pp. 69-82.
Marc Robinson, ‘Sam Shepard' in The Other American Drama (Cambridge: Cambridge
University Press, 1994), pp. 60-88.
Christine Mac Leod, ‘The Politics of Gender, Language, and Hierarchy
in Mamet's Oleanna' Journal of American Studies, 29, 1995, pp. 199-213.
Robert Vorlicky, ‘Glengarry Glen Ross, David Mamet' in
Act Like a Man: Challenging Masculinities in American Drama (Ann Arbor: The University of Michigan Press, 1995),
Janet V. Haedicke, ‘Decoding Cipher Space:
David Mamet's The Cryptogram and America's Dramatic Legacy', American Drama, 9, Fall 1999,
Kim Pereira, ‘Fences' in August Wilson and the African-American
Odyssey (Urbana: University of Illinois Press, 1995), pp. 35-54.
Harry J. Elam, Jr. ‘Ma Rainey's Black Bottom: Singing
Wilson's Blues', American Drama, 5, Spring 1996, pp. 76-99.
Sandra G. Shannon, ‘A Transplant That Did Not Take: August Wilson's Views on the Great
Migration', African American Review, 31, 4, Winter 1997, pp. 659-666.
‘Feminism and the Canon: The Question of Universality', in The Feminist Spectator as Critic (Ann Arbor:
UMI Research Press, 1988), pp. 19-40.
William Demastes, ‘Jessie
and Thelma Revisited: Marsha Norman's Conceptual Challenge in ‘night Mother', Modern Drama, 36, 1993,
David Savran, ‘Ambivalence, Utopia, and a Queer Sort of Materialism: How Angels
in America Reconstructs the Nation' Theatre Journal, 47, May 1995, pp. 207-227.
Jonathan Freedman, ‘Angels, Monsters, and Jews: Intersections of Queer and Jewish
Identity in Kushner's Angels in America', PMLA, 113, 1998, pp. 90-102.
Bette Mandl, ‘Feminism, Postfeminism, and The Heidi Chronicles',
Studies in the Humanities, 17, 1990, pp. 120-128.
Silverstein, ‘Any Baggage You Don't Claim, We Trash: Living With(in) History in Wolfe's The Colored Museum',
American Drama, 8, Fall 1998, pp. 95-121.
McConachie, ‘The Dining Room: A Tocquevillian Take on the Decline of WASP Culture', Journal of American
Drama and Theatre, 10, 1998, pp. 39-50.
Robert M. Post, ‘The Sexual World of Paula Vogel', The
Journal of American Drama and Theatre, 13, Fall 2001, pp. 42-54.
Heike Frank, ‘The Instability of Meaning in Suzan-Lori Parks's The America Play', American
Drama, 11, 2002, pp. 4-20.
Robert J. Andreach, ‘Richard
Foreman' in Drawing Upon the Past: Classical Theatre in the Contemporary American Theatre (New York:
Peter Lang, 2003), pp. 166-187.