Submissions from 2014
Gay Sweatshop, Alternative Theatre, And Strategies For New Writing, Sara Freeman
Submissions from 2012
Introduction: Theatre, Performance, and the Public Sphere, Sara Freeman
Review of: British Asian Theatre: Dramaturgy, Process, and Performance by Dominic Hingorani by Dominic Hingorani, Sara Freeman
Timberlake Wertenbaker, Sara Freeman
Submissions from 2011
Three Dramaturgy Assignments from the University of Oregon, Sara Freeman
Submissions from 2010
Absent Mother/Present Mother: Timberlake Wertenbaker’s Credible Witness and Tony Kushner’s Homebody/Kabul, Sara Freeman
Review of: Political Theatre in Post-Thatcher Britain: New Writing 1995-2005 by Amelia Howe Kritzer, Sara Freeman
Review of: The Cambridge Introduction to Tragedy by Jennifer Wallace, Sara Freeman
Soyinka UK/Soyinka USA: Death and the King’s Horseman at the RNT and OSF, Sara Freeman
Tragedy After Darwin: Timberlake Wertenbaker Remakes Modern Tragedy, Sara Freeman
Submissions from 2009
Early Modern Naturalistic Acting: The Role of the Globe in the Development of Personatio, Jacalyn Royce
Submissions from 2008
Afterword: The Translatorial Consciousness, Sara Freeman
International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker, Sara Freeman and Maya Esther Roth
Submissions from 2007
The Immigrant, the Exile, and the Refugee in Timberlake Wertenbaker’s Credible Witness: A Poetics of Diaspora, Sara Freeman
Submissions from 2006
Writing the History of Alternative Theatre Companies: Mythology and the Last Years of Joint Stock, Sara Freeman
Submissions from 2005
Joan Littlewood, Sara Freeman
Review of: Contemporary Black and Asian Women Playwrights in Britain by Gabriele Griffin, Sara Freeman
Dramaturgy and Silence, Geoffrey S. Proehl
Submissions from 2004
Timberlake Wertenbaker, Sara Freeman
Submissions from 2003
Review of: Machinal by Sophie Treadwell staged by The Hypocrites at Chicago Dramatists, Sara Freeman
Submissions from 2001
Review of: TDR Special Section on Bertolt Brecht: “German Brecht, European Readings” by Susanne Winnacker, Sara Freeman
Theory and Philosophy Roundtable: Boundaries, Definitions, Provocations, Sara Freeman
Special Section on Dramaturgy, Geoffrey S. Proehl
Submissions from 2000
Submissions from 1998
“Each in our open-ended way, we are multitudinous" — Les Nombres by Andrée Chedid, Sara Freeman
Rehearsing Dramaturgy: Time Is Passing, Geoffrey S. Proehl
Submissions from 1997
Coming Home Again: American Family Drama and the Figure of the Prodigal, Geoffrey S. Proehl
Dramaturgy in American Theater: A Source Book, Geoffrey S. Proehl, Susan Jonas, and Michael Lupu
Submissions from 1994
dramaturg, Geoffrey S. Proehl
dramaturgy, Geoffrey S. Proehl
Submissions from 1990
Foucault on Discourse; O'Neill as Discourse, Geoffrey S. Proehl
Submissions from 1980
Articles on the teaching of Sophocles, Yeats, and Eliot in the secondary school, Geoffrey S. Proehl