Comparative Drama

Papers
(The median citation count of Comparative Drama is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-05-01 to 2026-05-01.)
ArticleCitations
Introduction: Text & Presentation2
The Final Curtain: The Art of Dying on Stage by Laurence Senelick (review)2
Comedy and Crisis: Pieter Langendijk, the Dutch, and the Speculative Bubbles of 1720 by Joyce Goggin and Frans De Bruyn1
Euphoria in Unhappiness: Technology and Revelation in Jennifer Haley's Neighborhood 3: Requisition of Doom and The Nether1
“It’s only a play”: Ibsen’s A Doll’s House (1879), Adamson’s Wife (2019), and the Relevance of Historical Theatre1
"This is a Woman's Trip": Adapting Ntozake Shange's for colored girls for Stage and Screen1
Law as Performance: Theatricality, Spectatorship and the Making of Law in Ancient, Medieval and Early Modern Europe by Julie Stone Peters (review)1
Ending, Leaving, Remaining: Young Women and Trauma in Fairview and How I Learned to Drive1
"The world to me is but a ceaseless storm": Pericles, The Porpoise , and the Resistance of Exile0
Doing and Undoing: Speaking for Palestinians on the Royal Court Stage0
Making a Play for God: The Sacre Rappresentzioni of Renaissance Florence by Nerida Newbigin0
The Theatre Couple in Early Modern Italy: Self-Fashioning and Mutual Marketing by Serena Laiena (review)0
Lynn Riggs: The Indigenous Plays by Lynn Riggs (review)0
What Kind of Cosmopolitanism? Transplantation and Displacement in the (Re)construction of Theatrical Nationality in Early Twentieth-Century China and Japan0
The Interdisciplinary Theatre of Ping Chong: Exploring Curiosity and Otherness Onstage by Yuko Kurahashi (review)0
"Firing her thatch": The Social Construction of a Witch in Dekker, Ford, and Rowley's The Witch of Edmonton0
Kabukuing Shakespeare: Gender Crossings in Takarazuka’s Shakespeare Adaptations0
In Memoriam: Clifford O. Davidson: 1932–20240
Alumnae Theatre Company: Nonprofessionalizing Theatre in Canada by Robin Whittaker (review)0
Theater of Capital: Modern Drama and Economic Life by Alisa Zhulina (review)0
Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest by Peter Platt (review)0
"Always Be Blossoming": Director Mary Zimmerman in Conversation with Ann M. Shanahan0
Staging Change: Toward a Theatrical Theory of Activist Performance by Victoria L. Scrimer (review)0
From R.U.R. to Westworld: Personal Revolt, Digital Technology, and the Making of a New Robot Ur-text0
Thomas, Lord Cromwell Recontextualized: An Economic Fable in Response to The Merchant of Venice0
Keeping the Violence Out of Sight: Representing Systems of Oppression with Offstage Violence0
Recuperating (from) Disposability in the Wasteocene: Recycling Lives and Plastics in Behind the Beautiful Forevers0
Cocktails with George and Martha: Movies, Marriage, and the Making of Who's Afraid of Virginia Woolf? by Philip Gefter (review)0
Arthur Miller's Suicidology of the Stage: Suicide and Dramatic Form in Death of a Salesman0
Revolutionary Stagecraft: Theater, Technology, and Politics in Modern China by Tarryn Li-Min Chun (review)0
Staging Germanness in Contemporary British Theatre by Joseph Prestwich (review)0
Contributors0
Making Pagans: Theatrical Practice and Comparative Religion in Early Modern England by John Kuhn (review)0
Measuring Protagonism in Early Modern European Theatre: A Distant Reading of the Character of Sophonisba0
Longing to Stay Tied: Maggie O'Farrell's Hamnet as a Work of Creative Criticism0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s by Siyuan Liu0
Decommissioning the Bard: Chloe Gong's These Violent Delights as Anticolonial Edutainment0
"The world's a theatre of theft": Islamic Imposture in Tomkis' Albumazar0
Theater, War, and Revolution in Eighteenth-Century France and Its Empire by Logan J. Connors (review)0
Persia in Early Modern English Drama, 1530–1699: The Imagined Empire by Chloë Houston (review)0
Why We Return: Repetition and Remembrance in Elliot: A Soldier's Fugue0
"The Isle Is Full of Noises": the Many Tempests of Margaret Atwood's Hag-Seed0
Contributors0
Le Théâtre du Soleil: The First Fifty-Five Years by Béatrice Picon-Vallin0
Institutionalized Violence and Oppression: Ambiguity, Complicity and Resistance in El Campo and The Conduct of Life0
Anxious Masculinity in the Drama of Arthur Miller and Beyond: Salesmen, Sluggers and Big Daddies by Claire Gleitman (review)0
Staging America: The Artistic Legacy of the Provincetown Players by Jeffery Kennedy (review)0
Gender and Pilgrimage in The Digby Mary Magdalene0
Contributors0
Art Acts: Reframing the White Gaze in Claudia Rankine's The White Card0
Shakespeare’s Tragic Art by Rhodri Lewis (review)0
Staging the Market Mechanisms of Medieval Mating in Den utro hustru0
Paul Griffiths's let me tell you, Hamlet , and the Intertextual Mode of Literary Adaptation0
Staging Haiti in Nineteenth-Century America: Revolution, Race, and Popular Performance by Peter P. Reed (review)0
Pragmatic Liberation and the Politics of Puerto Rican Diasporic Drama by Jon D Rossini (review)0
The Theatre of Sa’dallah Wannous: A Critical Study of the Syrian Playwright and Public Intellectual ed. by Sonja Mejcher-Atassi and Robert Myers0
On the Edge of Discomfort: How Clown Training Reduces Stress and Encourages Empathy0
Reinforcing Indigenous Identity: Dramatic Performances of the Trauma of Puya Meithaba0
Contributors0
Contributors0
Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye (review)0
Rowdy Carousals: The Bowery Boy on Stage 1848-1913 by J. Chris Westgate (review)0
Torvald's Question: Italo Svevo and James Joyce Stage Modern Masculinity0
Contributors0
"Are you Funny Enough?": Grotesque Laughter in Matei Vișniec's Old Clown Wanted and Consuelo de Castro's Walking Papers0
Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta0
Queering The Winter's Tale in Jeanette Winterson's The Gap of Time0
The Prospero of Wonderland; or, Miranda Carroll, Author of Station Eleven0
Theatres of Feeling: Affect, Performance, and the Eighteenth-Century Stage by Jean I. Marsden0
Cue Tears: On the Act of Crying by Daniel Sack (review)0
Jackie Sibblies Drury's Fairview : Affect in Three Acts0
“Home Away from Home”: Diasporic Consciousness and Everyday Third Places in Tom Murphy’s Conversations on a Homecoming (1985) and Inua Ellams’ Barber Shop Chronicles (2017)0
“I want a bath!”: On the Depth and Limits of Universalist Liquefaction in Sarah Ruhl’s Eurydice0
Stages of Loss: The English Comedians and Their Reception by George Oppitz-Trotman0
Bad Blood: Staging Race Between Early Modern England and Spain by Emily Weissbourd (review)0
Introduction: Shakespeare and Contemporary Fiction0
The Drama of Serial Conversion in Early Modern England by Holly Crawford Pickett (review)0
Vows, Veils, and Masks: The Performance of Marriage in the Plays of Eugene O'Neill by Beth Wynstra (review)0
From Wilder’s Our Town (1938) to Churchill’s Escaped Alone (2016): Mediatization and the Collapse of the Large Into the Local0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Contributors0
Contributors0
"In this show let me an actor be": Joining in with Doctor Faustus0
Theatrical Consciousness: the Actor's Mind in Russian Modernism by Alisa Ballard Lin (review)0
Noël Coward: The Playwright's Craft in a Changing Theatre by Russell Jackson, and: Masquerade: The Lives of Noël Coward by Oliver Soden (review)0
Cultures of Witnessing: Law and the York Plays by Emma Lipton (review)0
”Simply Sitting in a Chair”: Questioning Representational Practice and Dramatic Convention in Marguerite Duras’s L’Amante anglaise and The Viaducts of Seine-et-Oise0
Living with Shakespeare: Saint Helen's Parish, London, 1593-1598 by Geoffrey Marsh0
Communal Justice in Shakespeare's England: Drama, Law, Emotion by Penelope Geng0
“The Bible say”: August Wilson’s Scriptural Improvisation0
Rewriting Idolatry: Doctor Faustus and Romeo and Juliet0
The Perfect Joke: Autopathography and Humor in Sarah Ruhl's The Clean House0
"Only Write the Good Parts": Playwright Lucas Hnath in Conversation with Jay Malarcher0
Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain by Dian Fox0
Redface: Race, Performance, and Indigeneity by Bethany Hughes (review)0
Diplomatic, Migrant, Intercultural: Chinese Opera’s Performance Modes in the Contemporary West0
Acting and the Remains of the Dead: Remembering Polus on Early Modern Stages0
Kids at Play: Early Pedagogical Engagement with Shakespeare Through the St. Omers First Folio0
I Want To Die, I Hate My Life: Three Essays on Tragedy and One on Beckett by Simon Critchley (review)0
Disappearing Fathers and Affective Withdrawal in the Neoliberal Era: Tracy Letts' August: Osage County and Mrinal Sen's Ek Din Achanak0
The Body and the Senses in Greek Tragedy by Afroditi Angelopoulou (review)0
Shaping Dance Canons: Criticism, Aesthetics, and Equity by Kate Mattingly (review)0
Introduction0
The Absent Child: Manifesting Transgenerational Environmental Trauma on Stage0
The Theatre of Anthony Neilson by Trish Reid0
Macbeth by William Shakespeare (review)0
The Paracelsan Philosophy and Plot in Romeo and Juliet0
Ugly Productions: An Aesthetics of Greek Drama by A.C. Duncan (review)0
"Old Words into Something New": David Bowie and Enda Walsh's Lazarus0
Under the Influence: Adaptation, Adultery, and Acceptance in Anton Chekhov's Uncle Vanya and Ryusuke Hamaguchi's Drive My Car0
Shadows of the Enlightenment: Tragic Drama during Europe's Age of Reason ed. by Blair Hoxby0
Contributors0
Let the Right One In by Jack Thorne (review)0
Contributors0
0.10452795028687