Revolution and after: heroism and violence in Early National Plays abour the American Revolution
págs. 15-27
Violence averted only to return: visiting the Archive of "Pocahontas Plays"
págs. 28-43
The trust for freedom from systems of oppression: a century of suicide, prolicide and viricide in plays by american women
págs. 44-58
Sane enough to kill: on women, madness and the theatricality of violence in Susan Glaspell's The Verge
págs. 59-71
New critical approaches to machinal: Sophie Treadwell's response to structural violence
págs. 72-84
págs. 85-98
The guns sing in harmony: Johnny Johnson and the Musical War
págs. 99-111
The violence at the top of the stairs: domestic dystopia in Inge's Heartland
Dorothy Chansky
págs. 112-127
págs. 128-142
"Actual wxplosions and actual brutality": Baraka, violence and the Black Arts Stage
págs. 143-156
Invisibility's contusions: violence in Cherrie Moraga's "Heroes and saints" and "The hugry woman" and Luis Valdez's "Zoot Suit"
págs. 157-171
Threats, bad language and imperatives: verbal violence in politically (in) correct institutional speech in american drama at the end of the millennium
págs. 172-185
"Arms in women's hands": the subversion of the victim role of women in Heather McDonald's "Dream of a common language"
págs. 186-199
págs. 200-211
Neil LaBute, vigilante of violence: an examination examination of his trilogy "The shape of things, fat pig and reasons to be pretty"
págs. 212-223
Challenging the american dream: U.S. theater and the continuum of state violence
págs. 224-238
págs. 239-249
The cancer body (politic) of american violence: John Guare's "A few stout individuals"
págs. 250-266
Affecting the audience: Gina Gionfriddo's "After Ashley"
págs. 267-282
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