Citation: T. Howard, SHAKESPEARES QUEER CHILDREN - SEXUAL POLITICS AND CONTEMPORARY CULTURE - CHEDGZOY,K, NTQ. New theatre quarterly, 13(51), 1997, pp. 296-296
Citation: Ps. Plowright, THE BIRDWOMAN AND THE PUPPET KING - A STUDY OF INVERSION IN CHINESE THEATER, NTQ. New theatre quarterly, 13(50), 1997, pp. 106-118
Citation: S. Dodds et J. Adsheadlansdale, GESTURE, POP CULTURE, AND INTERTEXTUALITY IN THE WORK OF ANDERSON,LEA, NTQ. New theatre quarterly, 13(50), 1997, pp. 155-160
Citation: I. Watson, NAMING THE FRAME - THE ROLE OF THE PRE-INTERPRETIVE IN THEATRICAL RECEPTION, NTQ. New theatre quarterly, 13(50), 1997, pp. 161-170
Citation: J. Tyszka, THE SCHOOL OF BEING TOGETHER - FESTIVALS AS NATIONAL THERAPY DURING THE POLISH PERIOD OF TRANSITION, NTQ. New theatre quarterly, 13(50), 1997, pp. 171-182
Citation: S. Werner, VOICE TRAINING, SHAKESPEARE, AND FEMINISM + REPLY TO BERRY,CICELY, RODENBURG,PATSY, AND LINKLATER,KRISTIN, NTQ. New theatre quarterly, 13(50), 1997, pp. 183-183
Citation: T. Howard, PERFORMING NOSTALGIA - SHIFTING SHAKESPEARE AND THE CONTEMPORARY PAST- BENNETT,S, NTQ. New theatre quarterly, 13(50), 1997, pp. 186-186
Citation: G. Berghaus, GODS OF PLAY - BAROQUE FESTIVE PERFORMANCES AS RHETORICAL DISCOURSE -AERCKE,KP, NTQ. New theatre quarterly, 13(50), 1997, pp. 186-187