Sara Freeman is an associate professor of theatre at the University of Puget Sound. Freeman is a coeditor of International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker and recently staged Anne Washburn’s experimental show Mr. Burns, a Post Electric Play.

• Meyerhold and The Revolution: A Reading through Henri Lefebvre’s Theories on “Everyday Life” — Stefan Aquilina“Shuffled Together under the Name of a Farce”: Finding Nature in Aphra Behn’s The Emperor of the Moon — Vivian ApplerKate Soffel’s Life of Crime: A Gendered Journey from Warden’s Wife to Criminal Actress — Kristi GoodStaging Ajax’s Suicide: A Historiography — Peter A. CampbellRousing Experiences: Theatre, Politics, and Change — Brian E. G. CookUntil You See the Whites of Their Eyes: Brett Bailey’s Exhibit B and the Consequences of Staging the Colonial Gaze — Megan LewisTaking the Theatre to the People: Performance Sponsorship and Regulation in Mussolini’s Italy — Patricia GaborikTo Image and to Imagine: Walid Raad, Rabih Mouré, and the Arab Spring — Ilinca Todorut And Anthony SorgeWhere Has the Political Theatre in Israel Gone? Rethinking the Concept of Political Theatre Today — Shulamith Lev-Aladgem“Equal Rights By All Means!”: Beatrice Forbes-Robertson’s 1910 Suffrage Matinee and the Onstage Junction of the US And UK Franchise Movements — Christine Woodworth“Why I Wrote the Phyllis Wheatley Pageant-Play”: Mary Church Terrell’s Bicentennial Activism — Lurana Donnels O’MalleyThe Lasting Theatre of Dario Fo and Franca Rame — Juliet GuzzettaChavez Ravine: Culture Clash and the Political Project of Rewriting History — Ashley E. LucasThe Heavy Lifting: Resisting the Obama Presidency’s Neoliberalist Conceptions of the American Dream in Kristoffer Diaz’s The Elaborate Entrance of Chad Deity — Noe Montez

Sara Freeman is an associate professor of theatre at the University of Puget Sound. Freeman is a coeditor of International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker and recently staged Anne Washburn’s experimental show Mr. Burns, a Post Electric Play.

• Meyerhold and The Revolution: A Reading through Henri Lefebvre’s Theories on “Everyday Life” — Stefan Aquilina“Shuffled Together under the Name of a Farce”: Finding Nature in Aphra Behn’s The Emperor of the Moon — Vivian ApplerKate Soffel’s Life of Crime: A Gendered Journey from Warden’s Wife to Criminal Actress — Kristi GoodStaging Ajax’s Suicide: A Historiography — Peter A. CampbellRousing Experiences: Theatre, Politics, and Change — Brian E. G. CookUntil You See the Whites of Their Eyes: Brett Bailey’s Exhibit B and the Consequences of Staging the Colonial Gaze — Megan LewisTaking the Theatre to the People: Performance Sponsorship and Regulation in Mussolini’s Italy — Patricia GaborikTo Image and to Imagine: Walid Raad, Rabih Mouré, and the Arab Spring — Ilinca Todorut And Anthony SorgeWhere Has the Political Theatre in Israel Gone? Rethinking the Concept of Political Theatre Today — Shulamith Lev-Aladgem“Equal Rights By All Means!”: Beatrice Forbes-Robertson’s 1910 Suffrage Matinee and the Onstage Junction of the US And UK Franchise Movements — Christine Woodworth“Why I Wrote the Phyllis Wheatley Pageant-Play”: Mary Church Terrell’s Bicentennial Activism — Lurana Donnels O’MalleyThe Lasting Theatre of Dario Fo and Franca Rame — Juliet GuzzettaChavez Ravine: Culture Clash and the Political Project of Rewriting History — Ashley E. LucasThe Heavy Lifting: Resisting the Obama Presidency’s Neoliberalist Conceptions of the American Dream in Kristoffer Diaz’s The Elaborate Entrance of Chad Deity — Noe Montez

Sara Freeman is an associate professor of theatre at the University of Puget Sound. Freeman is a coeditor of International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker and recently staged Anne Washburn’s experimental show Mr. Burns, a Post Electric Play.

• Meyerhold and The Revolution: A Reading through Henri Lefebvre’s Theories on “Everyday Life” — Stefan Aquilina“Shuffled Together under the Name of a Farce”: Finding Nature in Aphra Behn’s The Emperor of the Moon — Vivian ApplerKate Soffel’s Life of Crime: A Gendered Journey from Warden’s Wife to Criminal Actress — Kristi GoodStaging Ajax’s Suicide: A Historiography — Peter A. CampbellRousing Experiences: Theatre, Politics, and Change — Brian E. G. CookUntil You See the Whites of Their Eyes: Brett Bailey’s Exhibit B and the Consequences of Staging the Colonial Gaze — Megan LewisTaking the Theatre to the People: Performance Sponsorship and Regulation in Mussolini’s Italy — Patricia GaborikTo Image and to Imagine: Walid Raad, Rabih Mouré, and the Arab Spring — Ilinca Todorut And Anthony SorgeWhere Has the Political Theatre in Israel Gone? Rethinking the Concept of Political Theatre Today — Shulamith Lev-Aladgem“Equal Rights By All Means!”: Beatrice Forbes-Robertson’s 1910 Suffrage Matinee and the Onstage Junction of the US And UK Franchise Movements — Christine Woodworth“Why I Wrote the Phyllis Wheatley Pageant-Play”: Mary Church Terrell’s Bicentennial Activism — Lurana Donnels O’MalleyThe Lasting Theatre of Dario Fo and Franca Rame — Juliet GuzzettaChavez Ravine: Culture Clash and the Political Project of Rewriting History — Ashley E. LucasThe Heavy Lifting: Resisting the Obama Presidency’s Neoliberalist Conceptions of the American Dream in Kristoffer Diaz’s The Elaborate Entrance of Chad Deity — Noe Montez