Publications of R. Darren Gobert    :chronological  alphabetical  combined listing:

%% Books   
@book{fds340727,
   Author = {Gobert, RD},
   Title = {The Theatre of Caryl Churchill},
   Pages = {328 pages},
   Publisher = {Bloomsbury Publishing},
   Year = {2014},
   Month = {September},
   ISBN = {9781408154540},
   Abstract = {Through its five interlocking parts, The Theatre of Caryl
             Churchill tells a story about the playwright, her work, and
             its place in contemporary drama.},
   Key = {fds340727}
}

@book{fds340728,
   Author = {Gobert, RD},
   Title = {The Mind-Body Stage Passion and Interaction in the Cartesian
             Theater},
   Pages = {264 pages},
   Publisher = {Stanford University Press},
   Year = {2013},
   Month = {August},
   ISBN = {9780804788267},
   Abstract = {The Mind-Body Stage provides a dazzlingly original picture
             of one of the most consequential and confusing periods in
             the histories of modern theater and philosophy.},
   Key = {fds340728}
}


%% Plays/Screenplays   
@misc{fds371012,
   Author = {Gobert, RD},
   Title = {Love and Information by Caryl Churchill, or sexuality and
             gender in non-binary times},
   Pages = {179-192},
   Booktitle = {Analysing Gender in Performance},
   Year = {2022},
   Month = {December},
   ISBN = {9783030855734},
   url = {http://dx.doi.org/10.1007/978-3-030-85574-1_12},
   Abstract = {In this chapter, R. Darren Gobert elaborates the written and
             performative conventions of gender and casting historically,
             as we move from page to stage. Gobert examines Churchill's
             Love and Information as it attempts to sidestep gender by
             not predetermining gender or character in the play's written
             script. Comparing the line attribution and casting of Love
             and Information in its British, Canadian, and US premieres,
             Gobert examines how these productions negotiated the play's
             representations, asking what gender possibilities the play
             offers in the twenty-first century-and what realities of
             gender it reflects.},
   Doi = {10.1007/978-3-030-85574-1_12},
   Key = {fds371012}
}

@misc{fds358280,
   Author = {Gobert, RD},
   Title = {Adaptations},
   Pages = {214-221},
   Booktitle = {Tom Stoppard in Context},
   Publisher = {Cambridge University Press},
   Editor = {Kornhaber, D and Loehlin, J},
   Year = {2021},
   Month = {June},
   ISBN = {9781108349680},
   Abstract = {This collection covers biographical and historical topics,
             as well as the broad array of intellectual, aesthetic, and
             political concerns with which Stoppard has
             engaged.},
   Key = {fds358280}
}

@misc{fds340769,
   Author = {Gobert, RD},
   Title = {The Immaterial Matters},
   Pages = {250-267},
   Booktitle = {The Public Intellectual and the Culture of
             Hope},
   Publisher = {University of Toronto Press},
   Editor = {Haslam, J and Faflak, J},
   Year = {2013},
   Key = {fds340769}
}

@misc{fds340770,
   Author = {Gobert, RD},
   Title = {Arcadia and the Ghosts of Past Performance},
   Pages = {147-59},
   Booktitle = {Lectures de Tom Stoppard: Arcadia},
   Publisher = {Presses universitaires de Rennes},
   Editor = {Campos, L and Vatain, J},
   Year = {2011},
   Key = {fds340770}
}

@misc{fds340772,
   Author = {Gobert, RD},
   Title = {Dramatic Catharsis, Freudian Hysteria, and the "Private
             Theatre" of Anna O},
   Pages = {321-335},
   Booktitle = {Emotions: A Cultural Studies Reader},
   Publisher = {Routledge},
   Editor = {Pribram, D and Harding, J},
   Year = {2009},
   Key = {fds340772}
}

@misc{fds340773,
   Author = {Gobert, RD},
   Title = {On Performance and Selfhood in Caryl Churchill},
   Pages = {105-124},
   Booktitle = {The Cambridge Companion to Caryl Churchill},
   Publisher = {Cambridge UP},
   Editor = {Aston, E and Diamond, E},
   Year = {2009},
   Key = {fds340773}
}

@misc{fds340774,
   Author = {Gobert, RD},
   Title = {Historicizing Emotion: The Case of Freudian "Hysteria" and
             Aristotelian "Purgation"},
   Pages = {57-76},
   Booktitle = {Emotion, Place and Culture},
   Publisher = {Routledge},
   Editor = {Smith, M and Davidson, J and Cameron, L and Bondi,
             L},
   Year = {2009},
   Key = {fds340774}
}


%% Papers/Articles/Chapters in Books   
@article{fds372136,
   Author = {Gobert, RD},
   Title = {Performance and Modernity: Enacting Change on the
             Globalizing Stage By Julia A. Walker. Cambridge: Cambridge
             University Press, 2021; pp. xiii + 299, 20 illustrations.
             $99.99 cloth, $99.99 e-book.},
   Journal = {Theatre Survey},
   Volume = {64},
   Number = {2},
   Pages = {231-233},
   Publisher = {Cambridge University Press (CUP)},
   Year = {2023},
   Month = {May},
   url = {http://dx.doi.org/10.1017/s0040557423000030},
   Doi = {10.1017/s0040557423000030},
   Key = {fds372136}
}

@article{fds359354,
   Author = {Gobert, RD},
   Title = {The Seven Streams of the River Ota: National Theatre,
             London, UK},
   Journal = {PAJ: A Journal of Performance and Art},
   Volume = {43},
   Number = {3},
   Pages = {35-39},
   Publisher = {MIT Press - Journals},
   Year = {2021},
   Month = {September},
   url = {http://dx.doi.org/10.1162/pajj_a_00576},
   Doi = {10.1162/pajj_a_00576},
   Key = {fds359354}
}

@article{fds347109,
   Author = {Gobert, RD},
   Title = {Review of Mount Oympus, directed by Jan Fabre.},
   Journal = {Theatre Journal},
   Volume = {71},
   Number = {3},
   Pages = {369-373},
   Publisher = {Johns Hopkins University Press},
   Year = {2019},
   Month = {September},
   url = {http://dx.doi.org/10.1353/tj.2019.0088},
   Doi = {10.1353/tj.2019.0088},
   Key = {fds347109}
}

@article{fds340764,
   Author = {Gobert, RD and Mackay, E and Owens, C and Watt, I and Wolff,
             T},
   Title = {Drama Drama: The State of Drama Studies in the
             Profession},
   Journal = {The Harold Pinter Review},
   Volume = {2},
   Number = {1},
   Pages = {1-15},
   Year = {2018},
   Key = {fds340764}
}

@article{fds340766,
   Author = {Gobert, RD},
   Title = {Editor's Note},
   Journal = {Modern Drama},
   Volume = {60},
   Number = {4},
   Pages = {iii-vi},
   Publisher = {University of Toronto Press},
   Editor = {Gobert, RD},
   Year = {2017},
   Key = {fds340766}
}

@article{fds340767,
   Author = {Gobert, RD},
   Title = {Editor's Note},
   Journal = {Modern Drama},
   Volume = {60},
   Number = {3},
   Pages = {iii-v},
   Publisher = {University of Toronto Press},
   Editor = {Gobert, RD},
   Year = {2017},
   Key = {fds340767}
}

@article{fds340726,
   Author = {Gobert, RD},
   Title = {The Field of Modern Drama, or Arcadia},
   Journal = {Modern Drama},
   Volume = {58},
   Number = {3},
   Pages = {285-301},
   Publisher = {University of Toronto Press Inc. (UTPress)},
   Year = {2015},
   Month = {September},
   url = {http://dx.doi.org/10.3138/md.0761},
   Doi = {10.3138/md.0761},
   Key = {fds340726}
}

@article{fds340729,
   Author = {Gobert, RD},
   Title = {Behaviorism, Catharsis, and the History of
             Emotion},
   Journal = {Journal of Dramatic Theory and Criticism},
   Volume = {26},
   Number = {2},
   Pages = {109-125},
   Publisher = {Project MUSE},
   Year = {2012},
   Month = {March},
   url = {http://dx.doi.org/10.1353/dtc.2012.0004},
   Doi = {10.1353/dtc.2012.0004},
   Key = {fds340729}
}

@article{fds340730,
   Author = {Gobert, RD},
   Title = {CARTESIAN SUBJECTIVITY ON THE NEOCLASSICAL STAGE; OR,
             MOLIÈRE ACTS CORNEILLE FOR LOUIS XIV},
   Journal = {Theatre Survey},
   Volume = {49},
   Number = {1},
   Pages = {65-89},
   Publisher = {Cambridge University Press (CUP)},
   Year = {2008},
   Month = {May},
   url = {http://dx.doi.org/10.1017/s0040557408000045},
   Abstract = {<jats:p>In 1658, having been invited to perform at court for
             the first time in his career, Molière paired his farce
             <jats:italic>Le Docteur amoureux</jats:italic> with
             <jats:italic>Nicomède</jats:italic>, a 1651 play by
             France's reigning dramatist, Pierre Corneille. The choice of
             <jats:italic>Nicomède</jats:italic> is surprising for
             political reasons, since the play is shot through with
             suspicion of royal authority: Corneille's hero is a great
             military leader unjustly imprisoned by the weak king he
             selflessly serves. The choice becomes less surprising when
             one considers a different set of reasons. Corneille's play
             is a generic oddity that marries its tragic tropes to
             elements of historical drama and a surprisingly comic
             ending. Molière's provincial troupe may have felt more at
             ease in such a play than in a proper neoclassical tragedy,
             since they lacked training in rhetorically complex stage
             declamation and in the codified gestures and postures
             preferred to convey tragic stage emotion at the time. In
             particular, they lacked the facility of the king's (and
             Corneille's) favorites, the esteemed Hôtel de Bourgogne
             actors, who were in the audience as guests of the monarch.
             No doubt anxious in their presence and in the presence of
             the king, Molière might have sought to mitigate the
             unfavorable comparison he anticipated between the talents of
             his troupe and those of the reigning Paris
             tragedians.</jats:p>},
   Doi = {10.1017/s0040557408000045},
   Key = {fds340730}
}

@article{fds340731,
   Author = {Gobert, RD},
   Title = {Finding a Physical Language: Directing for the Nineties
             Generation},
   Journal = {New Theatre Quarterly},
   Volume = {24},
   Number = {2},
   Pages = {141-157},
   Publisher = {Cambridge University Press (CUP)},
   Year = {2008},
   Month = {May},
   url = {http://dx.doi.org/10.1017/s0266464x08000122},
   Abstract = {<jats:p>In the course of his career, James Macdonald has
             directed a vast array of plays and operas in London, New
             York, Vienna, and Berlin, but he is perhaps best known for
             the premiere productions of Sarah Kane's
             <jats:italic>Blasted, Cleansed</jats:italic>, and
             <jats:italic>4.48 Psychosis</jats:italic> at the Royal Court
             Theatre, where he was an Associate Director from 1992 to
             2006. His most recent work includes Peter Handke's
             <jats:italic>The Hour We Knew Nothing of Each
             Other</jats:italic> at the National Theatre and the Broadway
             revival of Caryl Churchill's <jats:italic>Top
             Girls</jats:italic>. Macdonald met with R. Darren Gobert in
             London on 23 January 2006 to discuss the challenges of
             working with spare, difficult plays such as Kane's,
             Churchill's <jats:italic>A Number</jats:italic>, and Martin
             Crimp's <jats:italic>Fewer Emergencies</jats:italic>. R.
             Darren Gobert wishes to thank Annabel Rutherford for
             transcribing the conversation and, for their funding, the
             Faculty of Arts Committee on Research, Grants, and
             Scholarships at York University.</jats:p>},
   Doi = {10.1017/s0266464x08000122},
   Key = {fds340731}
}

@article{fds340732,
   Author = {Gobert, RD},
   Title = {Cognitive Catharsis in The Caucasian Chalk
             Circle},
   Journal = {Modern Drama},
   Volume = {49},
   Number = {1},
   Pages = {12-40},
   Publisher = {University of Toronto Press Inc. (UTPress)},
   Year = {2006},
   Month = {March},
   url = {http://dx.doi.org/10.3138/md.49.1.12},
   Doi = {10.3138/md.49.1.12},
   Key = {fds340732}
}

@article{fds340775,
   Author = {Gobert, RD},
   Title = {The Antitheatrical Paradox in Michel Marc Bouchard’s Les
             Feluettes, ou La Répétition d’un drame
             romantique},
   Journal = {Canadian Literature ==},
   Volume = {188},
   Pages = {47-61},
   Publisher = {University of British Columbia Law Review
             Society},
   Year = {2006},
   Key = {fds340775}
}


%% Book Reviews   
@article{fds340765,
   Author = {Gobert, RD},
   Title = {Review of Acting, Spectating and the Unconscious by Maria
             Turri},
   Journal = {Theatre Research International},
   Volume = {43},
   Number = {2},
   Pages = {228-229},
   Publisher = {Cambridge University Press (CUP)},
   Year = {2018},
   Key = {fds340765}
}

@article{fds340768,
   Author = {Gobert, RD},
   Title = {Review of The First Frame: Theatre Space in Enlightenment
             France by Pannill Camp},
   Journal = {Theatre Journal},
   Volume = {67},
   Number = {4},
   Pages = {761-762},
   Publisher = {Johns Hopkins University Press},
   Year = {2015},
   Key = {fds340768}
}

@article{fds340771,
   Author = {Gobert, RD},
   Title = {Review of The Persistence of Allegory: Drama and
             Neoclassicism from Shakespeare to Wagner by Jane K.
             Brown},
   Journal = {Modern Philology},
   Volume = {107},
   Number = {3},
   Pages = {E45-E48},
   Publisher = {University of Chicago Press},
   Year = {2010},
   Key = {fds340771}
}