Citation: M. Mckinnie, ACTING BETWEEN THE LINES - THE FIELD-DAY-THEATER-COMPANY AND IRISH CULTURAL POLITICS 1980-1984 - RICHTARIK,MJ, Essays in theatre, 15(1), 1996, pp. 118-120
Citation: Ja. Weiss, NEGOTIATING PERFORMANCE - GENDER, SEXUALITY, AND THEATRICALITY IN LATIN O AMERICA - TAYLOR,D, VILLEGAS,J/, Essays in theatre, 15(1), 1996, pp. 124-126
Citation: S. Carlson, BEHN,APHRA THE 'EMPEROR OF THE MOON' - STAGING 17TH-CENTURY FARCE FOR20TH-CENTURY TASTES, Essays in theatre, 14(2), 1996, pp. 117-130
Citation: Hj. Holder, BROKEN TOYS, THE DESTRUCTION OF THE NATIONAL HERO IN THE EARLY HISTORY PLAYS OF POLLOCK,SHARON, Essays in theatre, 14(2), 1996, pp. 131-145
Citation: A. Kiermander, PARIS WAS ALWAYS BURNING, (DRAG) QUEENS AND KINGS IN 2 EARLY PLAYS BYDUMAS,ALEXANDRE PERE, Essays in theatre, 14(2), 1996, pp. 159-173
Citation: A. Filewod, IRVING,HENRY WATERLOO, THEATRICAL ENGAGEMENTS WITH DOYLE,ARTHUR,CONAN, SHAW,GEORGE,BERNARD, TERRY,ELLEN, CRAIG,EDWARD,GORDON - LATE-VICTORIAN CULTURE, ASSORTED GHOSTS, OLD MEN, AND HISTORY - KING,WD, Essays in theatre, 14(2), 1996, pp. 179-181
Citation: Ab. Dawson, GENDER AND PLAY ON THE SHAKESPEAREAN STAGE, BOY HEROINES AND FEMALE PAGES - SHAPIRO,M, Essays in theatre, 14(2), 1996, pp. 186-188
Citation: F. Jussawalla, DRAMATIC CONCEPTS GREEK AND INDIAN - A STUDY OF POETICS AND 'NATYASASTRA' - GUPT,B, Essays in theatre, 14(2), 1996, pp. 191-193