In Sep 1986, the Cork Enquiry evaluated the needs of the publicly funded theater, determined funding priorities and produced a broad vision of the nature of theater in England. Brown and Brannen examine the Enquiry's process and formulation of recommendations as well as the nature and function of such reports alongside the long-term impact of the Cork Enquiry.
Theatre historians are reconsidering traditional attitudes towards "theatre riots" of the past in light of the new perception of "mob" activity by the social historian George Rude. Dallett examines two more recent audience revolts: the riots at the opening of Synge's "The Playboy of the Western World" in Dublin in 1907 and the indignant response of Berkeley students in 1968 to the Living Theatre's "Paradise Now."
Scarr argues that playwright Alan Bennett is not only one of the most politically contentious playwrights in dominent theater but that the ideological viewpoints he has supported have changed as his career has progressed.
Circus artists transgress and reconstruct the boundaries of racial and gender identity as part of their routine. Tait analyzes the careers of Australian Aboriginal wire-walker Con Colleano and aerialist Dawn de Ramirez, who both had to assume alternative racial identities to facilitate and enhance their careers.
The concentration camp in Theresienstadt Czech Republic was unique in that it was used by the Nazis as a "flagship" ghetto to deceive the world about the real fate of the Jews. Kift examines the program of the cabaret at the concentration camp and tries to distinguish some recurring themes in the songs and sketches to see how they confronted the harsh realities of camp existence.
Brown responds to comments made by Clive Barker in "What Trainingfor What Theatre." He draws upon his wide range of past and present experience to explore issues raised by Barker and by Richard Schechner about the theater.
Malpede uses her play, "The Beekeeper's Daughter," and Slobodan Snajder's play, "Snakeskin," as examples of an approach to writing and experiencing plays that she calls "theater of witness." In these plays, the witnessing imagination affirms connections based upon the capacities to experience compassion and empathy for the self and for others as powerful and motivating forces.
Effigies of contemporary politicians and the Pope are burned during the annual Lewes Bonfire Festival, an important piece of popular theater in East Sussex England. Wiles discusses the history and organizational structure of the festival and examines the ideology of Englishness on which it is based.