Sarah Bay-Cheng

Barbara Cole

Beginning with Stevens's Three Travelers Watch a Sunrise (1916) as a dynamic introduction to the modernist transformation of poetry into performance, the collection also includes Millay's biting anti-war satire, Aria da Capo (1920) and H.D.'s Hippolytus Temporizes (1927), loosely adapted from the Euripides play. Both plays demonstrate the Greek poets' enduring legacy in modern poetic drama --

An Anthology of Modernist Drama

Poets at Play

Jennifer Parker-Starbuck

David Z. Saltz

An innovative approach for explicating and mapping work at the media and performance nexus

Taxonomies for a Changing Field

Performance and Media

Mama Dada is the first book to examine Gertrude Stein's drama within the history of the theatrical and cinematic avant-gardes. Since the publication of Stein's major writings by the Library of America in 1998, interest in her dramatic writing has escalated, particularly in American avant-garde theaters. This book addresses the growing interest in Stein's theater by offering the first detailed analyses of her major plays, and by considering them within a larger history of avant-garde performance. In addition to comparing Stein's plays and theories to those generated by Dadaists, Surrealists, and Futurists, this study further explores the uniqueness of Stein via these theatrical movements, including discussions of her interest in American life and drama, which argues that a significant and heretofore unrecognized relationship exists among the histories of avant-garde drama, cinema, and homosexuality. By examining and explaining the relationship among these three histories, the dramatic writings of Stein can best be understood, not only as examples of literary modernism, but also as influential dramatic works that have had a lasting effect on the American theatrical avant-

Gertrude Stein's Avant-Garde Theatre

Mama Dada

Andy Lavender

Chiel Kattenbelt

This insightful book explores the relationship between theater and digital culture. The authors show that the marriage of traditional performance with new technologies leads to an upheaval of the implicit “live” quality of theatre by introducing media interfaces and Internet protocols, all the while blurring the barriers between theater-makers and their audience.

Sarah Bay-Cheng

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