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 2021-03-01 to 2025-03-01.)
ArticleCitations
Arthur Miller's Suicidology of the Stage: Suicide and Dramatic Form in Death of a Salesman2
Keeping the Violence Out of Sight: Representing Systems of Oppression with Offstage Violence2
Communal Justice in Shakespeare's England: Drama, Law, Emotion by Penelope Geng1
Living with Shakespeare: Saint Helen's Parish, London, 1593-1598 by Geoffrey Marsh1
"Old Words into Something New": David Bowie and Enda Walsh's Lazarus0
“I want a bath!”: On the Depth and Limits of Universalist Liquefaction in Sarah Ruhl’s Eurydice0
Theatres of Feeling: Affect, Performance, and the Eighteenth-Century Stage by Jean I. Marsden0
Le Théâtre du Soleil: The First Fifty-Five Years by Béatrice Picon-Vallin0
Theater, War, and Revolution in Eighteenth-Century France and Its Empire by Logan J. Connors (review)0
The Theatre of Anthony Neilson by Trish Reid0
Anxious Masculinity in the Drama of Arthur Miller and Beyond: Salesmen, Sluggers and Big Daddies by Claire Gleitman (review)0
Bad Blood: Staging Race Between Early Modern England and Spain by Emily Weissbourd (review)0
“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
The Theatre Couple in Early Modern Italy: Self-Fashioning and Mutual Marketing by Serena Laiena (review)0
Let the Right One In by Jack Thorne (review)0
Persia in Early Modern English Drama, 1530–1699: The Imagined Empire by Chloë Houston (review)0
Flexibility, Abstraction, Orthodoxy: The Lehman Trilogy and (the) British Capital0
Comedy and Crisis: Pieter Langendijk, the Dutch, and the Speculative Bubbles of 1720 by Joyce Goggin and Frans De Bruyn0
"In this show let me an actor be": Joining in with Doctor Faustus0
The Prospero of Wonderland; or, Miranda Carroll, Author of Station Eleven0
Thomas, Lord Cromwell Recontextualized: An Economic Fable in Response to The Merchant of Venice0
Introduction: There's No Place Like London: Theatrical Landscapes of a City in Recovery0
"The world to me is but a ceaseless storm": Pericles, The Porpoise , and the Resistance of Exile0
From R.U.R. to Westworld: Personal Revolt, Digital Technology, and the Making of a New Robot Ur-text0
Contributors0
To Remind You Of My Love: London's Love Affair With The American Musical0
Staging the Market Mechanisms of Medieval Mating in Den utro hustru0
Under the Influence: Adaptation, Adultery, and Acceptance in Anton Chekhov's Uncle Vanya and Ryusuke Hamaguchi's Drive My Car0
'Creating Change Where it Matters the Most': Artistic Directorship and Representation in the London Theatre0
In Memoriam: Clifford O. Davidson: 1932–20240
Rita, Sue and #Metoo: The Royal Court Theatre, London, and Liberalism0
Staging Haiti in Nineteenth-Century America: Revolution, Race, and Popular Performance by Peter P. Reed (review)0
“It’s only a play”: Ibsen’s A Doll’s House (1879), Adamson’s Wife (2019), and the Relevance of Historical Theatre0
“The Bible say”: August Wilson’s Scriptural Improvisation0
Pragmatic Liberation and the Politics of Puerto Rican Diasporic Drama by Jon D Rossini (review)0
Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Measuring Protagonism in Early Modern European Theatre: A Distant Reading of the Character of Sophonisba0
Contributors0
Diplomatic, Migrant, Intercultural: Chinese Opera’s Performance Modes in the Contemporary West0
Vows, Veils, and Masks: The Performance of Marriage in the Plays of Eugene O'Neill by Beth Wynstra (review)0
Contributors0
Contributors0
Introduction: Text & Presentation0
Forty Years On: The Funding Conundrum at The Finborough0
Introduction: Shakespeare and Contemporary Fiction0
Paul Griffiths's let me tell you, Hamlet , and the Intertextual Mode of Literary Adaptation0
"Only Write the Good Parts": Playwright Lucas Hnath in Conversation with Jay Malarcher0
Gender and Pilgrimage in The Digby Mary Magdalene0
'Be Yourself, Inasmuch as it Suits the Job': "Authenticity" in Practice at Berlin's Maxim Gorki and London's Royal Court0
Contributors0
Queering The Winter's Tale in Jeanette Winterson's The Gap of Time0
Stages of Loss: The English Comedians and Their Reception by George Oppitz-Trotman0
Cultures of Witnessing: Law and the York Plays by Emma Lipton (review)0
What Kind of Cosmopolitanism? Transplantation and Displacement in the (Re)construction of Theatrical Nationality in Early Twentieth-Century China and Japan0
Cue Tears: On the Act of Crying by Daniel Sack (review)0
Art Acts: Reframing the White Gaze in Claudia Rankine's The White Card0
Longing to Stay Tied: Maggie O'Farrell's Hamnet as a Work of Creative Criticism0
Contributors0
Afterword0
"The world's a theatre of theft": Islamic Imposture in Tomkis' Albumazar0
The Theatre of Sa’dallah Wannous: A Critical Study of the Syrian Playwright and Public Intellectual ed. by Sonja Mejcher-Atassi and Robert Myers0
Staging America: The Artistic Legacy of the Provincetown Players by Jeffery Kennedy (review)0
The Perfect Joke: Autopathography and Humor in Sarah Ruhl's The Clean House0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s by Siyuan Liu0
Contributors0
Law as Performance: Theatricality, Spectatorship and the Making of Law in Ancient, Medieval and Early Modern Europe by Julie Stone Peters (review)0
Euphoria in Unhappiness: Technology and Revelation in Jennifer Haley's Neighborhood 3: Requisition of Doom and The Nether0
Macbeth by William Shakespeare (review)0
Contributors0
Shadows of the Enlightenment: Tragic Drama during Europe's Age of Reason ed. by Blair Hoxby0
Making a Play for God: The Sacre Rappresentzioni of Renaissance Florence by Nerida Newbigin0
Institutionalized Violence and Oppression: Ambiguity, Complicity and Resistance in El Campo and The Conduct of Life0
Torvald's Question: Italo Svevo and James Joyce Stage Modern Masculinity0
"The Isle Is Full of Noises": the Many Tempests of Margaret Atwood's Hag-Seed0
Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain by Dian Fox0
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
Decommissioning the Bard: Chloe Gong's These Violent Delights as Anticolonial Edutainment0
High Rise eState of Mind: Love and Honesty in the Midst of London's Neoliberal Housing Crisis0
Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest by Peter Platt (review)0
The Resistible Rise of Isli-Crouch Upon-Thames: New Metropolitanism in New British Drama0
The Paracelsan Philosophy and Plot in Romeo and Juliet0
The Drama of Serial Conversion in Early Modern England by Holly Crawford Pickett (review)0
Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye (review)0
Shaping Dance Canons: Criticism, Aesthetics, and Equity by Kate Mattingly (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
From Wilder’s Our Town (1938) to Churchill’s Escaped Alone (2016): Mediatization and the Collapse of the Large Into the Local0
Rewriting Idolatry: Doctor Faustus and Romeo and Juliet0
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