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Table of Contents

  1. Reading and Experiencing a Play Transculturally
  2. Ranjan Ghosh
  3. pp. 259-281
  4. DOI: https://doi.org/10.1353/cdr.2012.0026
  5. restricted access
  1. Zen and the Art of Self-Negation in Samuel Beckett's Not I
  2. Kyle Gillette
  3. pp. 283-302
  4. DOI: https://doi.org/10.1353/cdr.2012.0028
  5. restricted access
  1. Snapshots of a Shakespearean in China
  2. Sidney Homan
  3. pp. 303-317
  4. DOI: https://doi.org/10.1353/cdr.2012.0030
  5. restricted access
  1. American Students Performing the Foreignness of Human Culture in Foreign Drama
  2. Les Essif
  3. pp. 319-338
  4. DOI: https://doi.org/10.1353/cdr.2012.0031
  5. restricted access
  1. Authentic Protest, Authentic Shakespeare, Authentic Africans: Performing Othello in South Africa
  2. Natasha Distiller
  3. pp. 339-354
  4. DOI: https://doi.org/10.1353/cdr.2012.0023
  5. restricted access
  1. On the Tragedy of the Commoner: Elektra, Orestes, and Others in South Africa
  2. Loren Kruger
  3. pp. 355-377
  4. DOI: https://doi.org/10.1353/cdr.2012.0024
  5. restricted access
  1. Fugard, Kani, Ntshona's The Island: Antigone as South African Drama
  2. Robert Gordon
  3. pp. 379-399
  4. DOI: https://doi.org/10.1353/cdr.2012.0025
  5. restricted access
  1. Hamlet the Difference Machine
  2. Stephen Barker
  3. pp. 401-423
  4. DOI: https://doi.org/10.1353/cdr.2012.0027
  5. restricted access
  1. Contributors
  3. pp. 425-426
  4. DOI: https://doi.org/10.1353/cdr.2012.0029
  5. restricted access