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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>Preface</TD><TD WIDTH=40></TD><TD VALIGN=TOP>9</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Maya E. Roth & Sara Freeman</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>INTRODUCTION: Wertenbaker & Translations in Theatre</TD><TD WIDTH=40></TD><TD VALIGN=TOP>11</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Maya E. Roth</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  1. First Thoughts on Transforming a Text</TD><TD WIDTH=40></TD><TD VALIGN=TOP>35</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Timberlake Wertenbaker</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  2. Ismene's Return from a Sentimental Journey: Translation Strategies in Timberlake Wertenbaker's Dianeira and Antigone</TD><TD WIDTH=40></TD><TD VALIGN=TOP>41</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Victoria Pedrick</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  3. Group Tragedy and Diaspora: New and Old Histories of Exile and Family in Wertenbaker's Hecuba and Credible Witness</TD><TD WIDTH=40></TD><TD VALIGN=TOP>61</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Sara Freeman</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  4. Rescuing Les Italiens from Marivaux: Timberlake Wertenbaker's Translation</TD><TD WIDTH=40></TD><TD VALIGN=TOP>77</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Erith Jaffe-Berg</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  5. Translations and Transmutations: Timberlake Wertenbaker's Mephisto</TD><TD WIDTH=40></TD><TD VALIGN=TOP>93</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Christopher Swanson</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  6. "Only the Mystery": Transforming Fairy Tales and the (Un)Known Self in The Ash Girl</TD><TD WIDTH=40></TD><TD VALIGN=TOP>109</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Kristine Johanson</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  7. Chekhovian Transformation: Three Sisters and Timberlake Wertenbaker's The Break of Day</TD><TD WIDTH=40></TD><TD VALIGN=TOP>123</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Kristin Johnsen-Neshati</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  8. Translating the Past: Theatrical and Historical Repetition in Wertenbaker's The Break of Day</TD><TD WIDTH=40></TD><TD VALIGN=TOP>135</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Sheila Rabillard</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER  9. Engaging Cultural Translations: Timberlake Wertenbaker's History Plays from New Anatomies to After Darwin</TD><TD WIDTH=40></TD><TD VALIGN=TOP>155</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Maya E. Roth</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER 10. Oppositional Symmetries: An Anthropological Voyage through Our Country's Good & The Poetics</TD><TD WIDTH=40></TD><TD VALIGN=TOP>177</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Kate Bligh</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER 11. Value, Voice, and Identity in Three Birds Alighting on a Field</TD><TD WIDTH=40></TD><TD VALIGN=TOP>195</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Margaret F. Savilonis</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER 12. Dianeira, Anger, and History</TD><TD WIDTH=40></TD><TD VALIGN=TOP>209</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Ann Wilson</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER 13. Wertenbaker and the Metahistorical: Fracturing History in The Grace of Mary Traverse, Love of the Nightingale & After Darwin</TD><TD WIDTH=40></TD><TD VALIGN=TOP>223</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Jay M. Gipson-King</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER 14. From Euripides to Racine with Timberlake Wertenbaker: An Interview with Carey Perloff</TD><TD WIDTH=40></TD><TD VALIGN=TOP>235</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Maya E. Roth</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER 15. A Nightingale on the Nile: An Interview with Dalia Basiouny</TD><TD WIDTH=40></TD><TD VALIGN=TOP>249</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Sara Freeman</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>CHAPTER 16. The Thehans in Alaska: Translation, Community & Diversity</TD><TD WIDTH=40></TD><TD VALIGN=TOP>261</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Molly Smith</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>AFTERWORD: The Translatorial Consciousness</TD><TD WIDTH=40></TD><TD VALIGN=TOP>273</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Sara Freeman</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>Note on Contributors</TD><TD WIDTH=40></TD><TD VALIGN=TOP>283</TD><TD></TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>287</TD><TD></TD></TR></TABLE>

International dramaturgy : translation & transformations in the theatre of Timberlake Wertenbaker.