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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>Acknowledgments</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xi</TD><TD></TD></TR><TR><TD>Beginnings: Postmodern Tipping Points</TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Daniel K. Jernigan</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Spatial Ambiguity and the Early Modern/Postmodern in King Lear</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>23</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Jenn Stephenson</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Metadrama, Authority, and the Roots of Incredulity</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>45</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Bill Angus</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Parody, Metatheatre, and the Postmodern Turn: A Secret History of Irish Drama</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>61</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Eugene McNulty</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Lost in the Dark: Performing the Postmodern Moment in Eugene O'Neill's The Emperor Jones</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>85</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Lance Norman</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Landscapes of Metatheatre: Gertrude Stein's Anticipation of the Postmodern</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>109</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Teresa Requena Pelegri</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>``Nayman'' No More: Reconsidering Samuel Beckett</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>133</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Matthew Paproth</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Tom Stoppard's Regressive Postmodernity: Tracking the Major Plays, From Rosencrantz and Guildenstern Are Dead to Indian Ink</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>157</TD><TD VALIGN=TOP>(26)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Daniel K. Jernigan</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Elfriede Jelinek: Staging a Heideggerian Postmodern Debate in Totenauberg</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>183</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Christine Kiebuzinska</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Staging the Audience: Peter Weiss' The Investigation</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>207</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Scott Windham</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Top Girls: Postmodern Imperfect</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>231</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Prapassaree Thaiwutipong Kramer</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>``Pessimism of the Intellect-Optimism of the Will'': Tony Kushner's Postmodern Aesthetic</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>255</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>James Fisher</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Postmodern Ethics in Mark Ravenhill's Some Explicit Polaroids</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>283</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Leslie A. Wade</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Rise and Fall of the Lad: Joe Penhall's Early Plays</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>307</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>William C. Boles</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Utopia in absentia: Staging Possibilities in Kirk Lynn's War</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>327</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Margaret F. Savilonis</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Beckett and the Stage Image: Toward a Poetics of Postmodern Performance</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>351</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Neil Murphy</TD></TR></TABLE></TD></TR><TR><TD>List of Contributors</TD><TD WIDTH=40></TD><TD VALIGN=TOP>371</TD><TD VALIGN=TOP>(4)</TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>375</TD><TD></TD></TR></TABLE>

Drama and the postmodern : assessing the limits of metatheatre