What is included with this book?
Acknowledgments | p. ix |
Introduction: What Is Catholic Theatre? | p. 1 |
History | |
Female Spirituality, Female Sexuality and Re-Viewing ôRe-Viewing Hrotsvitö: The Plays of Hrotsvit von Gandersheim as Counterdiscursive Inversion of the Church Fathers | p. 17 |
Not Just a University Theatre: The Significance of Jesuit School Drama in Continental Europe, 1540-1773 | p. 29 |
Shakespeare as Catholic Dramatist in The Tempest | p. 45 |
Orthodoxy and Technique: Jesuit Ballet in the Post-Reformation Period | p. 67 |
Little Mothers, Mischievous Boys, and Good Little Christians: Characters in Children's Parlor Plays in America, 1858-1903 | p. 75 |
Religious Tragedy: García Lorca's Unfinished Play About Christ | p. 104 |
Catholic Theatre for Women in Post-War Italy: Education, Morality, and Social Change | p. 125 |
Practice | |
Saints as Subject and Agenda: Notes on Catholic Playwriting | p. 143 |
Magi Liturgical Dramas Performed in Worship: Two Case Studies of Interpretations of Medieval Liturgical Drama | p. 146 |
Opera News: Jesuits, Catholic Imagination, and the Staging of Cultural Conversations | p. 162 |
Ancient Ritual, Modern Drama: Catholic Worship and Playwriting Pedagogy | p. 181 |
Genesius in the City of Angels: Lope de Vega as a Catholic Playwright in a Bilingual Production of Lo fingido verdadero | p. 197 |
The Genesian Effect: Performing Damien Deepens an Actor's Faith | p. 208 |
Publicity, Props and Playtext in a Franciscan Setting: The Practical Teaching of Everyman in a Small Catholic School | p. 213 |
About the Contributors | p. 221 |
Index | p. 223 |
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