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New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to critical questioning. Articles in Volume 66 will include: Dario Fo, the Commune, and the Battle for the Palazzina Liberty; Dramaturgy according to Daedalus; 'Other' Spaces of Translation: the Theatre of Bernard-Marie Koltès; 'Everybody Got Their Brown Dress': Millennium Revivals of the Medieval Mysteries; 'Suffrage Shrews': Mary Pickford's Katherina and the Stratford Visit to Los Angeles; Alternative Theatre in Poland since 1989.
No example demonstrates the fluidity of the past within the German Democratic Republic more powerfully than the history of the Prussian state. Initially attacked in East German official histories as the historical engine of German militarism and reaction, Prussia underwent a remarkabletransformation in official and public memory from around the end of the 1970s. This was the so-called 'Prussia-Renaissance', in which, for the first time, the East German state began to recognise and even celebrate figures from Prussian history who had not served a 'progressive' agenda. But the'Prussia-Renaissance' was also a political and cultural phenomenon with a wide public resonance. The 'Prussia-Renaissan...
The end of communism was marked by many ironies, not the least of which was the emergence of working-class movements that challenged what the party-state called "workers' paradises." Throughout eastern Europe, labor unions played a significant role in bringing about regime change, then emerged as the largest organizations in civil society.Once well-positioned to play a significant role in-if not to dominate-the postcommunist transformation of Russia, Poland, Ukraine, and Hungary (among other countries), organized labor groups have largely vanished from the stage. Examining and explaining this disjunction is the focus of Organized Labor in Postcommunist States.Paul Kubicek offers a comparativ...
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