... in Serbia. © 2009 by Yale School of Drama/Yale Repertory Theatre 2009 Interviewed by Tom Sellar The Dreamers, by Robert Musil, directed by MiloŠ Lolić, Yugoslav Drama Theater, Belgrade, 2008. Courtesy of Yugoslav Drama Theater Finding Our Way Milena Bogavac and Miloš...

... consumption. Book Reviews Crossing the Stage The Theater of Michel Enaver Ionesco ’s Imperatives Subjectivity and Subjugation in Seventeenth- Century Drama and Prose Two-way Drag drag, one thing remains clear: context can...

...David Epstein Copyright © by yale/theatre 1969 1969 THEY TOLD ME THAT YOU CAME THIS WAY A Play in One Act by David Epstein They Told Me That You Came This Way was (PETER gets up, ALEX stands, block- first performed in May, 1968 at Branford Col- ing his path.) lege, Yale...

...John H. Muse This article surveys the new forms of drama, performance, and spectatorship created by artists making use of the real-time microblogging website Twitter—as either a forum for performance in itself, or way to extend the boundaries of a more conventionally theatrical performance. He goes...

...Lawrence Switzky Investigating the use of the famous trolley problem in a stage play, virtual reality simulation, and video game, Switzky explores the ways in which the transmediation of this philosophical thought experiment colors the process of moral decision making. Switzky focuses on the ways...

... censorship of theater arts into three eras: 1) Zimbabwe's liberation struggle from the late 1960s through the 1970s, 2) the newly won independence of 1980s, with hope of economic and social progress giving way to frustration, and 3) the contemporary clash of President Mugabe's strong response against...

... make any difference in how a director staged a play, or a critic judged a production? Would it change the interpretation of Brecht's theories or his politics? Was any of this new information about the way his plays were created more than biographically and historically interesting? Was it really new...

...Faedra Chatard Carpenter In Carpenter’s musings on the dramaturgical discomfort of staging black suffering and subjugation, she takes on the task of identifying ways to make space for the dysfluency of black life in America on stage. Using the model of Tearrance Arvelle Chisholm’s tragicomedy...

...Andreas Englhart Andreas Englhart examines the aesthetics of evil, particularly extreme evil, in the work of director Milo Rau, focusing on Five Easy Pieces . Englhart considers the ways in which postmodern aesthetics are beginning to turn once again toward the ethical and how this turn is both...

... Deutschland 2—Berlin Back Up (2002), which restages a German parliamentary debate. She discusses the role of participation and spectatorship in such reenactments, arguing that these performance pieces embody new ways of thinking about history and politics. © 2010 by Yale School of Drama/Yale Repertory...

...Ryan M. Davis This profile traces the creative trajectory of the queer choreographer and performance maker Miguel Gutierrez. Drawing on José Esteban Muñoz’s theories of queer futurity and resistance, it analyzes the ways in which Gutierrez and his dancers defy reductive constraints on sexual...

... ways in which gesture, choreography, and dance knowledge circulates by physical exchange among dancers performing internationally. She describes these choreographers' work as joining tradition with innovation toward an integrated, globalized world. © 2010 by Yale School of Drama/Yale Repertory...

...Shonni Enelow Shonni Enelow asks, “What can we learn from looking at actors about the ways that surveillance has shaped contemporary life?” Her article examines performances in Leos Carax’s Holy Motors (2012), as well as works within the performance exhibition We’re Watching at Bard College (2017...

..., and community-based theater. Drawing on anecdotes, ruminations, and meditations, Alfaro narrates the story of his convergence with the larger Latinx theater community, and his account considers how artists past and present are paving the way for the potential future of Latinx theater. Copyright © 2019 Yale...

... of Myself , Piece for Person and Ghetto Blaster , and Green Screen , Sack identifies the ways in which Gunn’s work speaks to both a contemporary moment in theater and the history of performance art, acknowledging the different baggage of the forms she references while coyly and fluently crossing between...

...Laurens De Vos Laurens De Vos examines the ways in which director Milo Rau incorporates the poetic and aesthetic techniques of alienation theorized and pioneered by German director Bertolt Brecht for purposes similar to but distinct from Brecht’s. Like Brecht, De Vos argues, Rau exploits...

... within their own collaborative processes and how theaters might cultivate a culture grounded in care work. Reflecting on the lack of support for queer, POC, and disabled artists in US commercial theater, they discuss the ways that Sins Invalid’s work challenges those institutional paradigms. Finally...

... their embodied histories via workshops and productions at 12th Avenue Arts, On the Boards, and other Seattle venues. Through an ethnographic and archival approach, Jasmine Mahmoud argues that both ensembles created specific methods to unearth and represent stories in exceptionally unexpected ways that formally...

...] the moment in which you saw going this way versus that way as Brecht says, “the familiar stripped of its inconspicuousness” [a few bars of an ugly tune, sweetly] that all necessity is false; there is only possibility, rather probability maybe just [z road signs] spray painted over that [def...