ISSN 0975-1696 Journal of Drama Studies (PRINT)


An International Journal of Research


World Drama in English (including translation)

Vol. 1 January 2007 No. 1
DOROTHEA KEHLER Canard and the Common Lot: The Making of Shakespeare’s Margaret of Anjou
LISA HOPKINS The Cardinal’s Fishpond: The Symbolic Landscapes of The Duchess of Malfi
ROBERT F. FLISSNER “Good Night, Sweet Prince”: No Real Reunionby T.S. Eliot with Hamlet
RITA SEVERI La Sainte Courtisane by Oscar Wilde. Dramatic Oxymoron and Saintly Pursuits
BHIM S. DAHIYA Poetic Perceptions of Shakespeare’s Philosophic Stance in Keats, Arnold, and Yeats
BOLDIZSAR FEJERVARI The Parasitism of Rosencrantz and Guildenstern Revisited
ELSE M. FLEISSNER Early American Theatre: A Diagnosis
MONIKA SETHI Frittering of the Family Edifice in Albee’s Albee’s Delicate Balance
ANAND PRAKASH Mohan Rakesh’s ‘Adhe Adhure’: Representing Society in the Dramatic Mode


Vol. 1 July 2007 No. 2
JUDY A. HAYDEN The Performance of Desire: Public Stage, Political State, and the Amours of Charles II
RICHMOND B. ADAMS Sectarian Excess: Sir John Falstaff’s Sociological God-Talk
BHIM S. DAHIYA What Transpires in Shakespeare’s The Tempest?
MARTIN A. JACOBI Antigone and Antilogic: Suggestions from Protagoras on Managing Conflict
TEALIA DEBERRY Killing the Ritual: Samuel Beckett’s Satirical Theatre of the Absurd
KATHERINE WEISS Deciphering the Dream in Samuel Beckett’sNacht and Traume
SCOT LAHAIE GARDENER The Epic Web: Origin Stories of the Epic Theatre
CATALINA FLORINA FLORESCO The Dance of Life Accompanied by the Music of Death in Yasmin Reza’s Plays and Novels
E. NAGESWARA RAO Theatre as a Medium of Revolutionary Message: Dario Fo’s Anarchic Art
FERYAL CUBUKCU Integration and Disintegration of Shadow and Self
SERKAN ERTIN Dissociation of Literary Characters: The Use of ‘the Double’ as a Defence Mechanism in Ayckbourn’s Woman in Mind and Friel’sPhiladelphia, Here I Come!
ASHUTOSH POTDAR Narration in Performance of Varkari Keertan in Maharashtra


Vol. 2 January 2008 No. 1
BHIM S. DAHIYA Editor’s Note
LISA HOPKINS Antonios and Stewards: A Conference About the Succession in Twelfth Night, The Duchess Of Malfi and The Tempest
BHIM S. DAHIYA For Iagoites and Othelloites: A Shakespearean Caveat
EMILY A MATTINGLY Internalizing the Aftermath: Acting out Sexual Trauma in Rowe’s She-Tragedies
ANDREA POWELL Jane and Bertha in Polly Teale’s Jane Eyre
UJJWAL JANA Rasa in Performance: Contextualizing Indian Classical Drama
IRENE WIRSHING August Strindberg’s A Dream Play: Abstraction in Light, Sound, and Movement
GULFISHAAN HABEEB Quest for Love and Religion: The Amen Corner
HEMA DAHIYA Shakespeare Studies at the First Indian College
ANAND PRAKASH Human-Centred Concerns in Samuel Beckett’sWaiting For Godot
MARGIT KOVES Myshkin and Geza-boy: the Figure of the Idiot in Dostoyevsky’s Russian Novel and Janos Hay’s Hungarian Play
JEFF KANTZ Direct Action: Anarchism and Drama


Vol. 2 July 2008 No. 2
BHIM S. DAHIYA Editor’s Note
SUSAN LAUFER O’HARA Masques as Ephemerae: Their Importance to Plot, Characterization, Irony, and Cultural Significance
YOSHIKO KAWACHI Hamlet in Post-War Japanese Fiction
DIVYA SAKSENA Shakespeare’s Cleopatra: The Forgotten Factor of Ancient Egypt or Factoring in Forgotten Egypt
RAJINI JAIMINI Shakespeare: The Dramatist Father
HEMA DAHIYA D.L. Richardson’s Criticism of Shakespeare
AURELIE C. CAPRON Francoise Pascal: Strategic Prefaces in the Midst of Classical French Drama
NEELIMA LUTHRA Marginality, Hysteria, Madness: Women in Samuel Beckett’s Not I, Rockaby
CLARK LUNBERRY The Theatre and Its Derridean Double: Writing upon Derrida’s Theatre of Thought
LIAN AMARIS ‘Biting off the Tongue of Discourse’: How Sarah Kane’s 4.48 Psychosis Performs as Helene Cixous’s Laughing Medusa
FRANCESCA MAIOLI Bodies under Attack: Sarah Kane’s Wrong Bodies
MUSTAFA KIRCA Language in Ayckbourn’s Plays
JYOTI BAJAJ John Stuart Mill’s Response to Shakespeare


Vol. 3 Jan. 2009 No. 1
DAVIDL. WHEAT Old Men Dancing and a Drag King: Is It Okay to Laugh at Euripides’ The Bacchae?
BHIM S. DAHIYA Shakespeare’s As You Like It and Hemingway’s The Sun Also Rises
ROBERTJ. CARDULLO German Dramatic Comedy: A Survey of the Modern Period
DAVID RAMPTON Rage for disorder: Tragedy and the Modern American Theatre
ANSHU SHEKHAWAT Female Identity: A Critical and Comparative Study of the Protagonists of Henrik Ibsen’s A Doll’s House and Vijay Tendulkar’s Kamala
RUPENDRAGUHA MAJUMDAR The Predicament of Freedom in the Works of Arthur Miller and Harold Pinter
NAMRATA JAIN Folk-Urban, Historic-Contemporary Continuum in Vijay Tendulkar’s Ghashiram Kotwal
MOHAMMAD AREF Scapegoat’s Ritual for Iranian Whooping-Cough
PAYAL NAGPAL The Balcony through the Panoptic Gaze
REVIEW: ANAND PRAKASH/PAYAL NAGPAL ‘Jab We Elects’–Drama in Performance: Aspects and Implications for the Indian Viewer


Vol. 3-4 July 2009-January-2010 No. 2/1
LISA HOPKINS Defence and Domesticity in Coriolanus
BHIM S. DAHIYA The Obvious and the Opaque in Measure for Measure
RICHMOND B. ADAMS Thus I am Not: Iago’s Curse-d Essentialism
AMARJEET NAYAK Walking the Patriarchal Tightrope: A Feminist Reading of Othello
ANAND PRAKASH Glimpses of the Restoration Strategy in Aphra Behn’s The Rover
ROBERT J. CARDULLO Bertolt Brecht: The Naturalist, the Theatricalist, and the Dramatist as the Director
MONIKA SETHI Neo-colonial Power Structures in Soyinka’s A Play of Giants
S. MASSIH ZEKAVAT Tom Wingfield’s ‘Road Not Taken’ in Tennessee Williams’ The Glass Menagerie
SUCHETA PATHANIA Critique of Australian Values: A Study of Ray Lawlor’s Summer of Seventeenth Doll
RAJYSHRI KHUSHU-LAHIRI Re-writing History: Jack Davis’ Search for Identity and Culture
RICHA BAJAJ Representation of Crisis in Mohan Rakesh’sHalfway House
Review: ANAND PRAKASH Vintage Shakespeare: Responses to Shakespeare from ‘Far’ and ‘Near’


Vol.4 July 2010 No. 2
LISA HOPKINS Prospero’s Books
R.W. DESAI India and the Question of Complexion in Shakespeare’s Sonnets, A Midsummer Night’s Dream, and The Merchant of Venice
BHIM S. DAHIYA The Place of Plebeians in Julius Caesar
YOSHIKO KAWACHI In Search of the Great Stage of Fools – An Approach toKing Lear
ANAND PRAKASH Ambivalence in Shakespeare’s Comic view: The Merchant of Venice and As You Like It
SWATI GANGULI Monarchy and Misogyny: Queen Elizabeth I and the Representation of Joan in I Henry VI
JOHN KURIAKOSE A Play that Subverts its own Generic Claim: A Macrostructuralist Critique of Hamlet
SUBHAJIT SEN GUPTA ‘You should be women’: Witchcraft and forms of subversion in Macbeth
HEMA DAHIYA H.M. Percival, An Early Scholar of Shakespeare in India
PRASHANT K. SINHA The Ruler-Counsellor Relationships in Select “Political” plays of Shakespeare
ANUPAMA VOHRA Women, Power and Powerlessness in William Shakespeare’s Othello
GARIMA GUPTA A Pair of Stairs to Marriage
S.L. PAUL Poetry as Consolation: A Reading of Shakespeare’s Sonnets
Review: ANAND PRAKASH Shakespeare, Vol.3, Nos.1-3, April-December 2007


Vol.5 January-2011 No. 1
DONALD MCMANUSAND SELIN NUGENT Blacking Plato’s Eye: Shadows, Puppets, Clowns, and Tragical Comedy
WALTER C. METZ Comical Flooding: Steve Carell and the Medieval Mystery Play
ANUPAM BASU Identity, Performance and Performed Identities: Folly and Madness in King Lear
HASAN BAKTIR Cleopatra as a Complex Character
BHIM S. DAHIYA Sediments in the Sea – Pericles
JERALD W. SPOTSWOOD Resistance and Redefinition in The Winter’s Tale
ANDREW KEENER Prospero’s Children
GIRIJA SHARMA Interrogating the Pseudo-Civilised: Mahesh Dattani’sSeven Steps Around the Fire
PAYAL NAGPAL Problematising Genet’s Dramaturgy: The Balcony and The Maids
J.O.J. NWACHUKWA-AGBADA Technique in Bode Sowande’s Early Plays
S.S. SANGWAN ANDS.P.S. DAHIYA Press and Power Politics in Tendulkar’s Plays
Review: ANAND PRAKASH Asha Kadyan, John Osborne:A Playwright of Social Conscience


Vol.5 July 2011 No. 2
BHIM S. DAHIYA The Rich and the Poor in King Lear: A Shakespearean Dialectic
BARRY R. CLARKE The Virginia Company and The Tempest
ANGSHUMAN KAR The Other Others: Re-reading The Tempest
ANITA BHELA Clowns, Fools and Jesters in Shakespeare: A Postmodernist Perspective
RICHA BAJAJ ‘Historicising’ Shakespeare: A View of Antony and Cleopatra and 1 Henry IV
LINDSAY YAKIMYSHYN “My body joined with thine, my mouth with thine”: The Sur-vival of Robert Garnier’s Marc Antoine and Mary Sidney’s Antonie
KASTURI CHOUDHARY J.M. Synge and The Irish Literary Renaissance
JAP PREET KAUR BHANGU From Dubois to Baraka: The Shaping of African-American Theatre
PREETI SINGH “I was never there!”: The Realm of the Liminal in Samuel Beckett’s Waiting for Godot
ANNA SUWALSKA-KOLECKA Transgression into the Sinister Underworld of Hallucination and Destruction in The Striker by Caryl Churchill
RAM NIWAS Subaltern Can Speak: The Cost of Freedom in Dacia Maraini’s Dialogue Between A Prostitute and Her Client


Vol.6 January-2012 No. 1
LISA HOPKINS Shipwrecked on Horseback: The Two Noble Kinsmen
WALTER C. METZ “Televising Godot”
TAISHA ABRAHAM Adrienne Kennedy and Carnivalisation of Space In Funnyhouse of a Negro
DANIELA DANIELE Pretending to be Lincoln: History Games, Parody and Black Travesty in Susan-Lori Parks’s Twin Plays
NEERA SINGH The Conscious Loversas a Sentimental Comedy
SIBENDU CHAKRAVARTY Masking the Masked – A Postcolonial Discourse of the Use of Ritual and Masks in Jack Davis’s Plays
ADITYA MISRA Death in Surprise: Gender and Power Dynamics in Ama Ata Aidoo’s Anowa
MARYAM BEYAD-SUSAN POURSANATI Raymond Williams’s City and the Vienna of Shakespeare’s Measure for Measure
RICHMOND B. ADAMS “Getting Out of Bed”: The Constitutionally Evangelical Blues of Ma Rainey’s Black Bottom
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