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Tracy C. Davis and Thomas Postlewait, Theatricality, reviewed by Marvin Carlson Jennifer Jones, Medea's Daughters: Forming and Performing the Woman Who Kills, reviewed by Penny Farfan Sarah Bay-Cheng, Mama Dada: Gertrude Stein's Avant-Garde Theater, reviewed by Nicola Shaughnessy Lynn C. Miller, Jacqueline Taylor, and Heather Carver, eds.,Voices Made Flesh: Performing Women's Autobiography, reviewed by Lesley Ferris Ian Watson, Negotiating Cultures: Eugenio Barba and the Intercultural Debate, reviewed by Margaret Werry Stacy Wolf, A Problem Like Maria: Gender and Sexuality in the American Musical, reviewed by Robert F. Gross

Mark Fortier Theory/Theatre: An Introduction, reviewed by Robin Nelson Peter Buse, Drama + Theory: Critical Approaches to Modern British Drama, reviewed by Susan Bennett Lois Gordon, ed. Pinter at 70: A Casebook, reviewed by Kellie Bean Penelope Prentice The Pinter Ethic: The Erotic Aesthetic 2nd ed., reviewed by Kellie Bean John Fleming, Stoppard’s Theatre: Finding Order amid Chaos, reviewed by Kirsten Shepherd-Barr Katherine E. Kelly, ed. The Cambridge Companion to Tom Stoppard, reviewed by Kirsten Shepherd-Barr Graham Saunders, ‘Love Me or Kill Me:’ Sarah Kane and the Theatre of Extremes, reviewed by Laurens De Vos Nick Kaye, Site-Specific Art: Performance, Place and Documentation, reviewed by Andrew Houston Elizabeth Klaver, Performing Television: Contemporary Drama and the Media Culture, reviewed by Andre Loiselle Eckhart Voigts-Virchow, ed., Mediated Drama / Dramatized Media , reviewed by Andre Loiselle Egil Törnqvist, Ibsen, Strindberg and the Intimate Theatre: Studies in TV Presentation, reviewed by John Osburn Egil Törnqvist, Strindberg’s “The Ghost Sonata”, reviewed by Robert F. Gross

Helen Gilbert, ed., Postcolonial Plays: An Anthology, reviewed by Una Chaudhuri Julie Holledge and Joanne Tompkins, Women's Intercultural Performance, reviewed by Priya Srinivasan Susan C. Haedicke and Tobin Nellhaus, ed., Performing Democracy: International Perspectives on Urban Community-Based Performance, reviewed by Brian Smith Eugene Van Erven, Community Theatre: Global Perspectives, reviewed by Edward Little Augusto Boal, Hamlet and the Baker's Son: My Life in Theatre and Politics, reviewed by Brian Smith Susan Crutchfield and Marcy Epstein, ed., Points of Contact: Disability, Art, and Culture, reviewed by Ann M. Fox Rachel Adams, Sideshow U.S.A.: Freaks and the American Cultural Imagination, reviewed by Michael M. Chemers Jill Dolan, Geographies of Learning: Theory and Practice, Activism and Performance, reviewed by Rosalind Kerr Herbert Blau, The Dubious Spectacle: Extremities of Theatre, 1976-2000, reviewed by Robert F. Gross

Janelle Reinelt, After Brecht: British Epic Theater, reviewed by Anthony Jenkins Ruby Cohn, Anglo-American Interplay in Recent Drama, reviewed by John M. Clum Norman Berlin, O'Neill's Shakespeare, reviewed by Frank R. Cunningham Hersh Zeifman ed., David Hare: A Casebook, reviewed by Malcom Page Robert Vorlicky, Act Like a Man: Challenging Masculinities in American Drama, reviewed by Robert F. Gross Mathew Roudane, ed., Public Issues, Private Tensions, reviewed by Janet N. Balkian Marc Robinson, The Other American Drama, reviewed by William W. Demastes James Acheson, ed., British and Irish Drama since 1960, reviewed by Errol Durbach Paul Delaney, ed., Tom Stoppard in Conversation, reviewed by Josephine Lee Nancy Lane, Understanding Eugene lonesco, reviewed by Elizabeth Klaver Alice Griffin, Understanding Tennessee Williams, reviewed by John S. Bak Bruce King, Derek Walcott and West Indian Drama., reviewed by Robert Hamner John Pilling, ed., The Cambridge Companion to Beckett, reviewed by Toby Silverman Zinman Jamed McFalane, ed., The Cambridge Companion to Ibsen, reviewed by Charles Leland

Thomas Bernhard's recognition of the omnipresence of death has provided the background for all of his dramatic works to appear thus far. For Bernhard, death is not a single, unique event that occurs at the conclusion of each life, but a current of negation that runs throughout the whole of human existence, manifesting itself in sickness, exhaustion and decay. The Writer in Die Jagdgesellschaft presents the Bernhardian vision of death in its most unadorned form