Comparative Drama is pleased to announce the publication of our Winter issue, volume 47.4. This was the last issue worked on by Tony Ellis and has been dedicated to him. It includes the following contributions:
Essays
"Wise Enough to Play the Fool": Robert Armin and Shakespeare’s Sung Songs of Scripted Improvisation
Catherine Henze
After Chekhov: The Three Sisters of Beth Henley, Wendy Wasserstein, Timberlake Wertenbaker, and Blake Morrison
Verna Foster
"What Citadels, what turrets, and what towers": Mapping the Tower of London in Thomas Heywood's Lord Mayors' Shows
Kristen Deiter
Double Exposures: On the Reciprocity of Influence between Tennessee Williams and Jean Cocteau
Laura Michiels and Christophe Collard
"I Have Done the State Some Service": Reading Slavery in Othello through Juan Latino
Emily Weissbourd
Reviews
Of Bondage: Debt, Property and Personhood in Early Modern England
by Amanda Bailey
reviewed by: Lorna Hutson
Shakespeare and the Book Trade
by Lukas Erne
reviewed by: Douglas Bruster
The Sentimental Theater of the French Revolution
by Cecilia Feilla
reviewed by: Yann Robert
Metatheater and Modernity: Baroque and Neobaroque
by Mary Ann Frese Witt
reviewed by: Tessa C. Gurney
The Poetics of Piracy, by Barbara Fuchs
reviewed by: Hilaire Kallendorf
The Tears of Sovereignty: Perspectives of Power in Renaissance Drama
by Philip Lorenz
reviewed by: Hilaire Kallendorf
Corpus Christi Plays at York: A Context for Religious Drama
by Clifford Davidson with a contribution in collaboration with Sheila White
reviewed by: Hans-Jürgen Diller
The Ghosts of the Avant-Garde(s): Exorcising Experimental Theater and Performance
by James M. Harding
reviewed by: Jennifer Buckley
The Modern Art of Influence and the Spectacle of Oscar Wilde
by S. I. Salamensky
reviewed by: Ellen Crowell
Acting Together: Performance and the Creative Transformation of Conflict
edited by Cynthia E. Cohen, Roberto Gutiérrez Varea, and Polly O. Walker
reviewed by: Kelly Howe
Mortal Thoughts: Religion, Secularity, and Identity in Early Modern Culture
by Brian Cummings
reviewed by: Christopher Kendrick
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