Provides an international forum where theatrical scholarship and practice can meet to question dramatic assumptions.

Provides an international forum where theatrical scholarship and practice can meet.

New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to critical questioning. Articles in Volume 66 will include: Dario Fo, the Commune, and the Battle for the Palazzina Liberty; Dramaturgy according to Daedalus; 'Other' Spaces of Translation: the Theatre of Bernard-Marie Koltès; 'Everybody Got Their Brown Dress': Millennium Revivals of the Medieval Mysteries; 'Suffrage Shrews': Mary Pickford's Katherina and the Stratford Visit to Los Angeles; Alternative Theatre in Poland since 1989.

New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.

New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance, that theatre studies need a methodology, and that theatre criticism needs a language. Articles in volume 73 include: Performance, Embodiment, Voice: the Theatre/Dance Cross-overs of Dodin, Bausch, and Forsythe; The Performative Self: Improvisation for Self and Other; The Events of June 1848: the 'Monte Cristo' Riots and the Politics of Protest; Culture, Memory, and American Performer Training; 'The Maker and the Tool': Charles Parker, Documentary Performance, and the Search for a Popular Culture; Simple Pleasures: the Ten-Minute Play, Overnight Theatre, and the Decline of the Art of Storytelling; Archive or Memory? The Detritus of Live Performance; NTQ Reports and Announcements; NTQ Book Reviews.

New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.

Provides an international forum where theatrical scholarship and practice can meet.