The language of quantum physics and its refusal of scientific certainty borrows heavily from experimental theater and its emphasis on potentiality. The significance of this new paradigm for theater is discussed.
A feminist theater critique of the display of naked and near-naked female flesh in the theater of 19th-century Britain is presented. The wisp of fabric was not meant to conceal but to attract the voyeuristic eye.
The role of women as performers and non-performers in the 16th and 17th centuries is discussed. Feminist theater critics have neglected a methodology for analytical endeavor as opposed to descriptive assessment.
The South African theater consists of a largely white, educated and liberal tradition reflecting European influence and a largely black, urban and essentially African street-style tradition. An analysis of the two is given.
The way in which the Spanish mendicant friars after Hernando Cortes adapted Aztec rituals for their own pedagogic purposes is discussed. Their work combined an expression of the internal politics of conquest with the theatricalization of Christian baptism.
An objective analysis of progress to date in the discovery of a dialogue with sociology is combined with a study of the problems and misconceptions encountered along the way. A possible methodology for correcting the present imbalance in theatre studies is presented.