DIDASKALIA SUPPLEMENT 1

How is it Played? Genre, Performance and Meaning

Proceedings of the conference at Texas A&M

TABLE OF CONTENTS

PUBLISHER'S NOTE by Sallie Goetsch

INTRODUCTION by Elise Garrison, Texas A&M

'The Performance, the Genre, and the Director' by Wulf Koepke, Texas A&M

'Recreating the Playwright's Images: Directing Athol Fugard's *'MASTER HAROLD'....and the boys*' by Roger Schultz, Texas A&M

'Stage Performance in the Age of Virtual Reality: Part One (1)' by Judith de Luce, Miami University

'Stage Performance in the age of Virtual Reality: Part II' by Lee Horvitz, Miami University

'The Actor as Literary Critic' by Jay Malarcher, Louisiana State University

'The Male Actor of Greek Tragedy: Evidence of Misogyny or Gender-Bending?' by Nancy Rabinowitz, Hamilton College

'Did Women Sing in the *Thesmophoriazusae*?' by Philip Ambrose, University of Vermont

'Flesh or Fish or What?-- Euripides' *Orestes*' by Victor Castellani, University of Denver

'Tragicomedy as a Running Joke: Plautus' *Amphitruo* in Performance' by Timothy Moore, University of Texas

'Dramatic Genre and the Don Juan Theme' by Perry Gethner, Oklahoma State University

'Will the Real Medee Please Step Forward?' by Joy Sylvester, Texas A&M University

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Didaskalia Supplement 1-May 1995 / edited by Sallie Goetsch and Peter Toohey / University of Warwick / didaskalia@csv.warwick.ac.uk /ISSN 1321-4853

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