Text & Presentation, 2018

Jay Malarcher is an associate professor of theatre and dramaturg at the School of Theatre & Dance, West Virginia University, Morgantown.

• Table of ContentsAcknowledgments viiPreface 1A Conversation with Simon Stephens (William C. Boles) 5Performing a Postmodern Prometheus: Percy Shelley’s Prometheus Unbound from Page to Stage (Victoria Lynn Scrimer) 29August Strindberg, Amiri Baraka and the Radicalization of Domestic Tragedy (Kevin Lucas) 43Breathing Still: The Dramatic Function of the Untold Tale in The Winter’s Tale  (Robert Irons) 61Imogen in Plus Fours: The Birmingham Repertory Theatre’s Cymbeline and the Ideal Woman (Lindsay Adams) 73Schwejk +/− Schweyk: Piscator, Brecht and the Battle for Epic Theater delete(Drew Lichtenberg) 90Where Is Akbar Rādi’s Home? A Study of the Concept of ExileHome in Through the Windowpanes delete(Babak Mazloumi) 111“Are You My Butterfly?”: The Metamorphosis of M. Butterfly, 1988–2017 delete(Martha J. Johnson) 125“What’s It Going to Be NOW Then, Eh?”: Alexandra ­Spencer-Jones’s Revisionary Stage Adaptation of A Clockwork Orange delete(William Hutchings) 140From Neurotypical Curiosity to Empathetic Movement: Exploring the “Neuro-Perceptive” Staging of The Curious Incident of the Dog in the ­Night-Time delete(Chad Kennedy) 154Exposure Therapy: Ibsen and the Photographic Imagination (Doug Phillip) 165Review of Literature: Selected Books Frances Babbage, Adaptation in Contemporary Theatre: Performing Literature (Verna A. Foster) 179Sozita Goudouna. Beckett’s Breath: ­Anti-Theatricality and the Visual Arts delete(William Hutchings) 183David Lloyd. Beckett’s Thing: Painting and Theatre delete(Doug Phillips) 188Sophie Duncan. Shakespeare’s Women and the Fin de Siècle delete(Brittany Proudfoot Ginder) 191Hillary Miller. Drop Dead: Performance in Crisis, 1970s New Yorkdelete(Amy Muse) 195Index  201

From previous volumes: “Edited with care...preserves the conference experience by extending its scholarly dialogue to the wider reading community...many fine essays”—New England Theatre Journal.