Logan J. Connors is Professor and Chair of the Michele Bowman Underwood Department of Modern Languages and Literatures at the University of Miami, where he also serves as Co-convener of the Interdisciplinary Research Group in Theatre and Performance Studies and Cooper Fellow in the College of Arts and Sciences.

'This is a genuinely rich, compelling, and informative study, which offers an appealing and informative perspective of its own while also inviting future research. The topic has long been overlooked by both theater experts and military historians, yet Connors demonstrates that it is an immensely rich and rewarding line of exploration. His book stands to make an important mark on the fields of both military history and eighteenth-century theater, but it also holds transformative insight for students of the eighteenth century, the Revolution, and colonialism.' Joseph Harris, University of London

• List of illustrations; Acknowledgments; List of abbreviations; Introduction: performance, revolution, and the military-theatrical complex; 1. From tragédie nationale to pièce militaire: Pierre-Laurent de Belloy's Le Siège de Calais; 2. Military masculinities, dramaturgical manipulation, and the desertion play; 3. Performing on the periphery: Military-theatrical experiences at the Théâtre de la Marine (Brest) and the Comédie du Cap (Cap-Français); 4. Total theater for total war: military dramas and performances of the French revolution; 5. Femmes soldats and militarized domesticity: women at war in French revolutionary theater; Conclusion: the military-theatrical complex of revolutionary Saint-Domingue; Bibliography; Index.

Logan J. Connors is Professor and Chair of the Michele Bowman Underwood Department of Modern Languages and Literatures at the University of Miami, where he also serves as Co-convener of the Interdisciplinary Research Group in Theatre and Performance Studies and Cooper Fellow in the College of Arts and Sciences.

'This is a genuinely rich, compelling, and informative study, which offers an appealing and informative perspective of its own while also inviting future research. The topic has long been overlooked by both theater experts and military historians, yet Connors demonstrates that it is an immensely rich and rewarding line of exploration. His book stands to make an important mark on the fields of both military history and eighteenth-century theater, but it also holds transformative insight for students of the eighteenth century, the Revolution, and colonialism.' Joseph Harris, University of London

• List of illustrations; Acknowledgments; List of abbreviations; Introduction: performance, revolution, and the military-theatrical complex; 1. From tragédie nationale to pièce militaire: Pierre-Laurent de Belloy's Le Siège de Calais; 2. Military masculinities, dramaturgical manipulation, and the desertion play; 3. Performing on the periphery: Military-theatrical experiences at the Théâtre de la Marine (Brest) and the Comédie du Cap (Cap-Français); 4. Total theater for total war: military dramas and performances of the French revolution; 5. Femmes soldats and militarized domesticity: women at war in French revolutionary theater; Conclusion: the military-theatrical complex of revolutionary Saint-Domingue; Bibliography; Index.

Logan J. Connors is Professor and Chair of the Michele Bowman Underwood Department of Modern Languages and Literatures at the University of Miami, where he also serves as Co-convener of the Interdisciplinary Research Group in Theatre and Performance Studies and Cooper Fellow in the College of Arts and Sciences.

'This is a genuinely rich, compelling, and informative study, which offers an appealing and informative perspective of its own while also inviting future research. The topic has long been overlooked by both theater experts and military historians, yet Connors demonstrates that it is an immensely rich and rewarding line of exploration. His book stands to make an important mark on the fields of both military history and eighteenth-century theater, but it also holds transformative insight for students of the eighteenth century, the Revolution, and colonialism.' Joseph Harris, University of London

• List of illustrations; Acknowledgments; List of abbreviations; Introduction: performance, revolution, and the military-theatrical complex; 1. From tragédie nationale to pièce militaire: Pierre-Laurent de Belloy's Le Siège de Calais; 2. Military masculinities, dramaturgical manipulation, and the desertion play; 3. Performing on the periphery: Military-theatrical experiences at the Théâtre de la Marine (Brest) and the Comédie du Cap (Cap-Français); 4. Total theater for total war: military dramas and performances of the French revolution; 5. Femmes soldats and militarized domesticity: women at war in French revolutionary theater; Conclusion: the military-theatrical complex of revolutionary Saint-Domingue; Bibliography; Index.