Introduction Shaw in Performance Robe Rt A. GAIN e S AND M I ch A el o ’ h ARA SHAW: The Journal of Bernard Shaw Studies (1981–2018) and both of its predecessor journals, The Shaw Bulletin (1950–58) and The Shaw Review (1959–80), have approached the analysis of Shaw’s oeuvre primarily although not exclusively through the privileged lens of literary criticism and theory. To be sure, at times, the journals have published some production reviews and frequently published articles that have included bits and pieces of reviews. Critics certainly have their place. But a review encapsulates one person’s quick and immediate impression of a production meant to provide a summary evaluation of the whole. In this issue, your editors have sought articles that explained more of “the arts and sciences” that lie behind the performance(s) under discussion. In that regard, some of the included articles have common elements with the emerging field(s) of performance studies/theory in which an increasing number of universities offer degrees, although they do not share a com - mon curriculum or an agreed-upon number of fields from which they draw information. Currently, this budding discipline looks, like much of the rest of theater, like a
SHAW The Annual of Bernard Shaw Studies – Penn State University Press
Published: May 22, 2018
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