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Provocation
TDR Comment
Letters, Etc.
The Changing TDR Consortium: Princeton Exits, Yale Enters
TDR/The Drama Review (2017) 61 (3 (235)): 10.
Articles
Global Rasikas: Audience Reception for Akram Khan’s Desh
TDR/The Drama Review (2017) 61 (3 (235)): 12–35.
How to See Black Space in Total Whiteness: taisha paggett’s underwaters (we is ready, we is ready) and the 2014 Whitney Biennial
TDR/The Drama Review (2017) 61 (3 (235)): 72–93.
“My relationship to the public is changing”: Marina Abramović: In Residence
TDR/The Drama Review (2017) 61 (3 (235)): 94–111.
“We Rule the Waves”: Athletic Labor, Femininity, and the Collective in Billy Rose’s Aquacade
TDR/The Drama Review (2017) 61 (3 (235)): 112–131.
Dancing Material History: Site-Specific Performance in Michigan
TDR/The Drama Review (2017) 61 (3 (235)): 132–140.
Asian Theatre as Method: The Toki Experimental Project and Sino-Japanese Transnationalism in Performance
TDR/The Drama Review (2017) 61 (3 (235)): 141–164.
Critical Acts
Still Expressing the Need for the Rational: Edward Bond’s Dea
TDR/The Drama Review (2017) 61 (3 (235)): 173–177.
Books
After Live: Possibility, Potentiality, and the Future of Performance
TDR/The Drama Review (2017) 61 (3 (235)): 178–179.
Moving Together: Theorizing and Making Contemporary Dance
TDR/The Drama Review (2017) 61 (3 (235)): 181–183.
Spectacular Disappearances: Celebrity and Privacy, 1696–1801
TDR/The Drama Review (2017) 61 (3 (235)): 186–187.
Resounding Afro Asia: Interracial Music and the Politics of Collaboration
TDR/The Drama Review (2017) 61 (3 (235)): 188–190.
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