bluuebunny/crossref_metadata_2025_split huggingface dataset:
Book Reviews
Authors: Fisher James , Morrow Laura , Garner Stanton , Diamond Thea , Gordon Lois , Lamont Rosette , Thomas Alan , Cross Clare , Zatlin Phyllis , Fisher Eileen , Leland Charles , Jenkins Anthony 
Published: April 2013

Robert Leach, Vsevolod Myerhold, reviewed by James Fisher Anthony S. Abbott, The Vital Lie: Reality and Illusion in Modem Drama, reviewed by Laura Morrow Michael Issacharoff, Discourse as Perormance, reviewed by Stanton B. Garner Kimball King ed., Sam Shepard: A Casebook, reviewed by Thea Diamond Enoch Brater, Why Beckett, reviewed by Rosette C. Lamont Linda Ben-Zvi, Women in Beckett, reviewed by Lois Gordon David Ian Rabey, Howard Barker: Politics and Desire, an expository study of his drama and poetry. 1969-87, reviewed by Alan Thomas William Hutchings, The Plays of David Storey: A Thematic Study, reviewed by Clare Cross Nicolás Kanellos, A History of Hispanic Theatre in the United States: Origins to 1940, reviewed by Phyllis Zatlin laurence Shyer, Robert Wilson and His Collaborators, reviewed by Eileen Fisher Brian Johnson, Text and Supertext in Ibsen's Drama, reviewed by Charles Leland paul Delaney, Tom Stoppard: the Moral Vision af the Major Plays, reviewed by Anthony Jenkins
Book Reviews
Authors: Carnicke Sharon Marie , Savona Jeannette Laillou , Sidnell Michael , Lamont Rosette , Styan  , Schuler Catherine , Fuegi John , Fischer Eileen , Zinman Toby Silverman , Reilly John 
Published: April 2013

Benjamin 8ennett Theater As Problem: Modern Drama and its Place in Literature, reviewed by Sharon Marie Carnicke Sue-Ellen Case, Performing Feminisms: Feminist Critical Theory and Theatre, reviewed by Jeannette Laillou Savona Richard Schechner, Performance Theory, reviewed by Michael J. Sidnell Estelle Manette Raben, Major Strategies in Twentieth Century Drama: Apocalyptic Vision, Allegory and Open Form, reviewed by Rosette C. Lamont Richard C. Beacham, Adolphe Appia, reviewed by J. L. Styan Richard C. Beacham, ed.,Adolphe Appia: Essays, Scenarios, and Designs, reviewed by J. L. Styan Nick Worrall, Modernism to Realism on the Soviet Stage, reviewed by Catherine Schuler Pia Kleber and Colin Visser, eds., Re-interpreting Brecht: His Influence on Conemporary Drama and Film, reviewed by John Fuegi Elizabeth Eright, Postmodern Brecht: A Re-Presentation, reviewed by Eileen Fischer Jonathan Kalb, Beckett in performance, reviewed by Toby Silverman Zinman Peter Norrish, New Tragedy and Comedy in France. 1945-70, reviewed by John H. Reilly Anne Ubersfeld, Vinaver dramaturge, reviewed by Rosette C. Lamont
Book Reviews
Authors: Worth Katherine , Foakes  , Leiter Samuel , Salter Denis 
Published: April 2013

John P. Harrington, The Irish Beckett, reviewed by Katharine Worth Susan Hollis Merritt, Pinter in Play, reviewed by R.A. Foakes Lois Gordon, Harold Pinter: A Casebook, reviewed by R.A. Foakes Jean Chothia, André Antoine, reviewed by Samuel L. Leiter Michael R. Booth, Theatre in the Victorian Age, reviewed by Denis Salter
One Mirror Is "Not Enough" in Beckett's Footfalls and Ohio Impromptu
Authors: Hwang Hoon-Sung 
Published: April 2013

In Beckett's stage world, word echoes word, sentence echoes sentence, scene echoes scene, act echoes act, character doubles character, the embedded text mirrors the enclosing text, the stage scene mirrors the auditorium, and finally the stage action echoes the mise-ell-abyme text. This "echo principle" is mentioned by many Beckett critics: James Knowlson, for example, discusses the parallelism and repetition in Footfalls, in terms of "an echo principle" that "confer[s] shape and strength on a work which inevitably appears lacking in the interest derived from conventional narrative or delineation of character."] Beckett's dramatic text thus becomes "a musical score" with a set of variations on a few specific motifs (words, phrases, characters, scenes). Knowlson's insight, when fully developed, points to one of the most crucial aspects of Beckett's aesthetics. Knowlson's discussion of the echo principle is, however, confined to verbal and visual imagery manifested on the level of word, sentence, and character; further, his interpretation is based on a formalistic approach, which does not touch on a philosophical and cultural implication of this phenomenon.
Book Reviews
Authors: Emeijanow Victor , Worth Katherine , Williams Simon , Willinger David , Cocalis Susan 
Published: April 2013

Anthony Jenkins, The Making of Victorian Drama, reviewed by Victore Emeijanow Kerry Powell, Oscar Wilde and the Theatre of the 1890s, reviewed by Katharine Worth Peter Skrine, Hauptmann, Wedekind and Schnitzler, reviewed by Simon Williams Roland Beyen, Bibliographie de Michel de Ghelderode, reviewed by David Willinger Roland Beyen, Correspondance Michel de Ghelderode: 1919-1927, reviewed by David Willinger Roland Beyen, Le Rire de Michel de Ghelderode, reviewed by David Willinger Renate Usmiani, The Theatre of Frustration: Super Realism in the Dramatic Work of F.X. Kroetz and Michel Tremblay, reviewed by Susan L. Cocalis Ingeborg C. Walther, The Theater of Franz Xaver Kroetz, reviewed by Susan L. Cocalis
In Defense of the Woman: Sophie Treadwell's Machinal
Authors: Jones Jennifer 
Published: April 2013

On March 20, 1927, Albert Snyder was found murdered in his bed, beaten on the head with a blunt object, chloroformed, and strangled with a piece of picture wire. When the police arrived, his wife, Ruth, was discovered outside their daughter's room, bound and gagged. She told police she had been attacked by a tall Italian man, and claimed to have fainted when he grabbed her, remaining unconscious for over five hours. The small house had been ransacked, drawers were emptied, and Ruth's jewelry stolen. Police became suspicious when the "stolen" jewelry was found under Ruth's mattress, and when she neglected to ask after her husband they felt sure she was involved in the murder. When told he was dead, they said the tears she shed were "suspiciously few." After nearly twenty hours of questioning, Ruth Snyder confessed that, with her lover, Judd Gray, she had beaten her husband to death with a sash weight while her nine-year-old daughter slept in the next room. Later she would change her story to say that it was Gray who had masterminded the murder and that she had been unable to stop him. Ultimately both Ruth and Gray were convicted of murder and executed at Sing Sing on January 12, 1928. Eight months after Ruth Snyder died in the electric chair, Sophie Treadwell's play Machinal, directed by Arthur Hopkins, and designed by Robert Edmund Jones, opened at the Plymouth Theatre in New York City. Increasingly, scholars and directors are "rediscovering" this play, and many consider it to be one of America's finest expressionist dramas. Most of the original reviewers in 1928 wrote that Machinal was only loosely based on the Ruth Snyder case, and this position has been quoted and accepted by contemporary scholarship. However, a close examination of that trial and the unprecedented coverage it received lead me to believe that Ruth Snyder was never far from Sophie Treadwell's mind as she wrote Machinal.
Pastoral Elements in John Bull's Other Island
Authors: Nadler Paul 
Published: April 2013

Like Ibsen, Strindberg, and Joyce, Bernard Shaw considered himself an exile; but unlike them, he rarely dealt in his work with his native land. Still, the relationship between Ireland and England was always of deep and personal concern to him — perhaps too much so often to be made public in his writing. In 1904, however, at Yeats' prodding, he produced John Bull's Other Island, which centers on the contrast between the English and the Irish, and which is set almost entirely in Ireland. John Bull is the second of a series of three plays — Man and Superman (1903) is the first, Major Barbara ( 1905) the last — dealing with both spiritual and political issues. In each of these plays the main characters are changed by new environments: Tanner flees (or pursues?) the life force from England to Spain; Broadbent is transformed by his journey to Ireland; and Barbara and Undershaft visit each other's worlds as part of their spiritual searches. But in its heartfelt nostal gia for a land, its earnest love for a people, and its unabashedly lyrical language, John Bull is unique among these plays. In its seamless integration of romance, politics. and religion it is underappreciated triumph.
Book Reviews
Authors: Parker Brian , Reinelt Janelle , Adam Julie 
Published: April 2013

George W. Crandell, Tennessee Williams: A Descriptive Bibliography, reviewed by Brian Parker Lyle Leverich, Tom: The Unknown Tennessee Williams, reviewed by Brian Parker Philip C. Kolin, ed., Tennessee Williams, reviewed by Brian Parker Howard Brenton, Hot Irons, reviewed by Janelle Reinelt Edward Bond, Letters I, reviewed by Janelle Reinelt Edward Bond, Letters II, reviewed by Janelle Reinelt Karen Laughlin and Catherine Schuler, eds., Theatre and Feminist Aesthetics, reviewed by Julie Adam
Book Reviews
Authors: Tompkins Joanne , Sperdakos Paula , Donkin Ellen , Haxo Paul , Scolnicov Hanna , Klaver Elizabeth , Worth Katherine , Page Malcom , Hinde Michael , Green Amy , Smiggel Libby 
Published: April 2013

J. Ellen Gainor, ed., Imperialism and Theatre: Essays on World Theatre, Drama and Performance, reviewed by Joanne Tompkins Cynthia Zimmerman, Playwriting Women: Female Voices ill English Canada, reviewed by Paula Sperdakos Charlotte Canning, Feminist Theaters in the U.S.A.: Staging Women's Experience, reviewed by Ellen Donkin Stephen Lacey, British Realist Theatre: The New Wave in Its Context, 1956-1965, reviewed by Paul Haxo Linda Ben-Zvi, ed., Theatre in Israel, reviewed by Hanna Scolnicov Mel Gussow, Conversations With (and About) Beckett, reviewed by Elizabeth Klaver Lois Oppenheim and Marius Buning, ed., Beckett On and On..., reviewed by Katherine Worth Albert Hunt and geoffrey Reeves, Peter Brook, reviewed by Malcom Page Kurt Eisen, The Inner Strength of Opposites: O'Neill's Novelistic Drama and the Melodramatic Imagination, reviewed by Michael Hinde Susan Bennett, Pelforming Nostalgia: Shifting Shakespeare and the Contemporary Past, reviewed by Amy S. Green Amy Koritz, Gendering Bodies/Performing Art: Dance and Literature in Early-Twentieth-Century British Culture, reviewed by Libby Smiggel
Theater in Spain (1960-81)
Authors: Díaz-Plaja Guillermo 
Published: April 2013

THE MOST SUCCESSFUL AND MoST DISCUSSED WOR of the 1960-61 theabical season in Madrid was Las Meninas written by Antonio Buero Vallejo and directed by Jose Tamayo. It was first presented on the occasion of Velazquez' anniversary. This work, which is based on a famous Vel3.zquez painting, has enjoyed great success and has aroused many contradictory comments. Among these comments, which come from different sources, there is general agreement that this production, like all those of this author, is worthy. of serious consideration. We shall now attempt to do it justice not only because we have high regard for the author but also because he is the most serious and the most sophisticated of our contemporary dramatists. The comments, as we shall soon see, revolve around the possible application of a particular historical situation in the period of Philip IV to present-day Spain. Buero Vallejo achieves his goal by inventing a plot in which Velazquez himself adopts a polemical attitude which serves as a catalytic agent for the nonconformist state of mind: something like the historical conscience of his time.
Book Reviews
Authors: Vanderlist Harry , Wisenthall  , Auslander Philip , Bennett Susan , Knowles Richard Paul , O'Brian Anthony , Krasner David , Gainor J. Ellen 
Published: April 2013

H. Porter Abbott, Beckett Writing Beckett: The Author in the Autograph, reviewed by Harry Vanderlist Stanley Weintraub, Shaw's People: Victoria to Churchill, reviewed by J.L Wisenthall Elinor Fuchs, The Death of Character: Perspective on Theater after Modernism, reviewed by Philip Auslander John Erickson, The Fate of the Object: From Modern Object to Postmodern Sign in Performance, Art and Poetry, reviewed by Susan Bennett Elin Diamond, ed.,Performance and Cultural Politics, reviewed by Richard Paul Knowles Patrice Davis, ed., The Intercultural Performance Reader, reviewed by Richard Paul Knowles Geoffrey V. Davis and Anne Fuchs, eds., Theatre and Change in South Africa, reviewed by Anthony O'Brian Margaret Eddershaw, Performing Brecht: Forty Years of British Performances, reviewed by David Krasner Patricia R. Shroeder, The Feminist Possibilities of Dramatic Realism, reviewed by J. Ellen Gainor
Bunbury Pure and Simple
Authors: Mackie W. Craven 
Published: April 2013

Sometime in late July 1894 Oscar Wilde wrote to George Alexander requesting an advance of £150 so that he might go away to write a comedy. In that letter he outlines a scenario of the play that within a month and a half would become a rough draft of The Importance of Being Earnest. In this early untitled version the names of Jack Worthing, Algernon, Cecily, Gwendolen and Lady Bracknell have yet to be invented. There is yet no play upon the word earnest and no Bunbury. By early August, only a few days after writing to Alexander, Wilde had traveled with his family from London to the seaside resort of Worthing in Sussex, where he continued to work on the new play. In notes that quickly fo llowed and expanded upon the first scenario, Wilde had come up with a working title, The Guardian. Further, he had settled on the names Worthing and Gwendolen, had introduced dialogue expressing Gwendolen's passion for the name Ernest and had noted "Mr Bunbury — always ill —."
Book Reviews
Authors: Perkins Kathy , Breslow Maurice , Stoeber Colette , Porter Laurin , Putzel Stephen , Parker Brian , Scott Shelly , Rewa Natalie , Bain Ted , Kerr Rosalind , Hays Peter 
Published: April 2013

Dana A. Williams, Contemporary African American Female Playwrights: An Annotated Bibliography, reviewed by Kathy A. Perkins Edward L. Shaughnessy, Down the Nights and Down rhe Days: Eugene O'Neill's Catholic Sensibility, reviewed by Maurice Breslow Keith Peacock, Harold Pinter and The New British Theatre, reviewed by Colette Stoeber Charles S. Watson, The History of Southern Drama., reviewed by Laurin Porter Leslie A. Wade, Sam Shepard and the AMerican Theatre, reviewed by Stephen D. Putzel Stephen J. Bottoms, The Theatre of Sam Shepard: States of Crisis, reviewed by Stephen D. Putzel Mathew C. Roudane, ed., The Cambridge Companion to Tennessee Williams, reviewed by Brian Parker Kerry Powell, Women and Victorian Theatre, reviewed by Shelly Scott Joan Templeton, Ibsen's Women, reviewed by Shelly Scott Remy Charest, Robert Lepage: Connecting Flights: Robert Lepage in Conversation with Remy Charest, reviewed by Natalie Rewa John Stokes, Oscar Wilde: Myths, Miracles, and Imitations, reviewed by Ted Bain Maggie Hünsberg, Gender and the Italian Stage: From the Renaissance to the Present Day, reviewed by Rosalind Kerr Christopher Bigsby, ed., The Cambridge Companion to Arthur Miller, reviewed by Peter L. Hays
Happy Days: Beckett's Rescript of Lady Chatterley's Lover
Authors: Thomas Jacqueline 
Published: April 2013

The importance of Beckett's use of literary references in Happy Days is well established. The juxtaposition of truncated yet recognizable fragments of literature provides a frame of reference for the erudite reader or spectator to appreciate fully — at least subconsciously — the irony of the characters' speech and situation. In his manuscript study of the play, Stanley Gontarski lists fourteen allusions identified by Beckett and the stages at which they were deliberately added. However, Beckett did not acknowledge a significant literary source that resonates throughout Happy Days: D.H. Lawrence's Lady Chatterley's Lover. Subtle echoes of Lawrence's novel provide a hitherto unexplored perspective from which to interpret Happy Days. Unlike the texts to which Winnie directly refers, this one does not deal with confronting death or with despair at the brevity of life. Instead, the Lawrentian subtext establishes Winnie's precarious sexuality and her womanly needs, which Beckett then undercuts, the better to establish the bitter irony of her situation.
Book Reviews
Authors: Golomb Anne , Maufort Marc , Sandrow Nahma , Harrower Natalie , McLaren Joseph , Anderson Lisa 
Published: April 2013

Richard H. Palmer, The Contemporary British History Play, reviewed by Liorah Anne Golomb Michal Manheim, ed., The Cambridge Companion to Eugene O'Neill, reviewed by Marc Maufort Glenda Abramson, Drama and Ideology in Modern Israel, reviewed by Nahma Sandrow Edna Nahshon, Yiddish Proletarian Theatre: The Art and Politics of the Artef. 1925-1940, reviewed by Nahma Sandrow Jean Colleran and Jenny S. Spencer, eds., Staging Resistance: Essays on Political Theatre, reviewed by Natalie Harrower Yvonne Shafer, August Wilson: A Research and Production Sourcebook, reviewed by Joseph McLaren Joseph McLaren, Langston Hughes: Folk Dramatist in the Protest Tradition 1921-1943, reviewed by Lisa M. Anderson
Book Reviews
Authors: Mews Sigfried , Gransow Volker , Kuhn Tom , Weber Carl , Gaddy Kerstin , Kleber Pia , Dobbie Shauna 
Published: April 2013

John Fuegi, Brecht & CO. Biographie, reviewed by Sigfried Mews Frederic Jameson, Brecht and Method, reviewed by Volker Gransow & Pia Kleber Theater der Zeit / Brecht Yearbook 23: drive b:, reviewed by Tom Kuhn Johnathan Kalb, The Theater of Heiner Müller., reviewed by Carl Weber Richard Bodek, Proletarian Performance in Weimar Berlin: Agitprop, Chorus, and Brecht, reviewed by Kerstin Gaddy Peter Thomas, Brecht: Mother Courage and Her Children, reviewed by Volker Gransow & Pia Kleber David F. Kuhns, German Expressionist Theatre: The Actor and the Stage, reviewed by Shauna Dobbie
Magic Meanings in Mamet's Cryptogram
Authors: Schaub Martin 
Published: April 2013

In one of his earlier essays, Mamet recalls what he thinks was a "magic moment" in theatre: "I thought: isn't it the truth: people are born, love, hate, are frightened and happy, grow old and die. We as audience and we as artists must work to bring about a theater, an American Theater, which will be a celebration of these things." Mamet's dramatic oeuvre, I maintain, is an attempt to live up to these principles. Through the ludic interaction of fictional characters, Mamet celebrates a "truth" lingering in theatrical spaces distorted by violence, suspicion, dishonesty, and deceit. Should I rather heed D.H. Lawrence's slightly shopworn warning and "never trust the artist" here? Has postmodern theory not obliterated "truth" as an intellectual curiosity long ago? And have we not agreed on the "absence of the transcendental signified," called for an indefinite "play of signification," and affirmed "a world of signs ... without truth"? These canonical tenets of postmodem theory, I again maintain, fall short of describing the scope and import of Mamet's plays. In Mamet's dramatic universe, "things do mean things" — even though, and maybe also because, his characters are constantly denying it.
Book Reviews
Authors: Bazzoni O'Keefe , Buse Peter , Arrell Douglas , Scott Shelly , Frank Glenda 
Published: April 2013

Gian-Palo Biasin and Manuela Gieri, eds.,Luigi Pirandello: Contemporary Perspectives, reviewed by Jana O'Keefe Bazzoni Dan Rebellato, 1956 and All That: The Making of British Drama, reviewed by Peter Buse David Roman, Acts of Intervention: Performance, Gay Culture and AIDS, reviewed by Douglas Arrell Anne Davis Basting, The Stages of Age: Performing Age in Contemporary American Culture, reviewed by Shelly Scott Brenda Murphy, ed., The Cambridge Companion to the American Woman Playwrights, reviewed by Glenda Frank
Book Reviews
Authors: Gantar Jure , Parker Brian , Innes Christopher , Willinger David , Golomb Liorah Anne , Scott Chelley 
Published: April 2013

William W. Demastes, Theatre of Chaos: Beyond Absurdism, into Orderly Disorder, reviewed by Jure Gantar Philip C. Kolin, ed., Tennessee Williams: A Guide to Research and Performance, reviewed by Brian Parker Alice Griffin, Understanding Tennessee Williams, reviewed by Brian Parker Annette J. Saddik, The Politics of Reputation: The Critical REception of Tennessee Williams' Later Plays, reviewed by Brian Parker Christopher Murray, Twentieth Century Irish Drama: A Mirror up to Nation, reviewed by Christopher Innes Alain Piette and Bert Cardullo, The Theatre of Fernand Crommelynck: Eight Plays, reviewed by David Willinger Alain Piette and Bert Cardullo, The Crommelynck Mystery: The Life and Work of a Belgian Playwright, reviewed by David Willinger Sheila Rabillard, ed., Essays on Caryl Churchill: Contemporary Representations, reviewed by Liorah Anne Golomb Lisa M. Anderson, No More: The Changing Image of Black Women on Stage and Screen, reviewed by Shelley Scott
Book Reviews
Authors: Hamera Judith , Davis Tracy 
Published: April 2013

Jo Bonney, ed., Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, reviewed by Judith Hamera Linda Montano, ed., Performance Artists Talking in the Eighties, reviewed by Judith Hamera Sharon M. Varnicke, Stanisiavsky in Focus, reviewed by Tracy C. Davis Alison Hodge, ed., Twentieth Century Actor Training, reviewed by Tracy C. Davis Elly A. Konijn, Acting Emotions: Shaping Emotions on Stage, reviewed by Tracy C. Davis David Krasner, ed., Method Acting Reconsidered: Theory, Practice, Future, reviewed by Tracy C. Davis Peter Thomson, On Actors and Acting, reviewed by Tracy C. Davis
Book Reviews
Authors: Phelan Peggy 
Published: April 2013

Herbert Blau, Sails of the Herring Fleet: Essays on Beckett, reviewed by Peggy Phelan Ruby Cohn, A Beckett Canon, reviewed by Peggy Phelan Les Essif, Empty Figure on an Empty Stage: The Theatre of Samuel Beckett and His Generation, reviewed by Peggy Phelan John Leeland Kundert-Gibbs, No-Thing is Left t0 Tell: Zen/Chaos Theory in the Dramatic Art of Samuel Beckett, reviewed by Peggy Phelan Lois Oppenheim, The Painted Word: Samuel Beckett's Dialogue with Art, reviewed by Peggy Phelan David Pattie The Complete Critical Guide to Samuel Beckett, reviewed by Peggy Phelan
Book Reviews
Authors: Dolan Jill , Peck James , George-Graves Nadine , Nelson Robin , Garner Stanton , Schneider Rebecca , Clemons Leigh , Krasner David 
Published: April 2013

Richard Schechner, Performance Studies: An Introduction, reviewed by Jill Dolan Colin Counsell and Laurie Wolf, Performance Analysis: An Introductory Coursebook, reviewed by James Peck Lizbeth Goodman and Jane de Gay, The Routledge Reader in Politics and Performance, reviewed by Nadine George-Graves Bert Cardullo and Robert Knopf, eds., Theater of the Avant-Garde, 1890–1950: A Critical Anthology, reviewed by Robin Nelson Michael Huxley And Noel Witts, eds., The Twentieth-Century Performance Reader, reviewed by Robin Nelson Martin Puchner, Stage Fright: Modernism, Anti-Theatricality, and Drama, reviewed by Stanton B. Garner, Jr. Marvin Carlson, The Haunted Stage: The Theatre as Memory Machine, reviewed by Rebecca Schneider Spencer Golub, Infinity (Stage), reviewed by Rebecca Schneider Freddie Rokem, Performing History: Theatrical Representations of the Past in Contemporary Theatre, reviewed by Leigh Clemons Ian Watson, ed.,Performer Training: Developments across Cultures, reviewed by David Krasner Daniel Meyer-Dinkgräfe, Approaches to Acting: Past and Present, reviewed by David Krasner
Book Reviews
Authors: Filewood Alan , Robb David , Pearce Wes , Nield Sophie , Auslander Philip 
Published: April 2013

Elizabeth Schafer and Susan Bradley Smith, Playing Australia: Australian Theatre and The International Stage, reviewed by Alan Filewod Katrin Sieg, Ethnic Drag: Performing Race, Nation, Sexuality in West Germany, reviewed by David Robb Brigit Haas, Modern German Political Drama 1980-2000, reviewed by David Robb Natalie Rewa, Scenography in Canada: Selected Designers, reviewed by Wes D. Pearce Elinor Fuchs and Una Chaudhuri, eds., Land/Scape/Theater, reviewed by Sophie Nield Gavin Carver and Colin Beardon, eds., New Visions in Performance: The Impact of Digital Technologies, reviewed by Philip Auslander