Experimenters, Rebels, and Disparate Voices: The Theatre of the 1920s Celebrates American Diversity Book

	Introduction
1	Searching for "The Big American Play": The Theatre Guild Produces John Howard Lawson's Processional	3
2	The Idiosyncratic Theatre of John Howard Lawson	13
3	Glitzing the Proletariat: John Howard Lawson's Plays of the 1920s	23
4	Direction by Design(er): Robert Edmond Jones and the New Provincetown Players	31
5	Glitter, Glitz, and Race: The Production of Harlem	39
6	Disparate Voices: African American Theatre Critics of the 1920s	47
7	Garland Anderson and Appearances: The Playwright and His Play	55
8	The First Serious Dramas on Broadway by African American Playwrights	71
9	Theatre and Community: The Significance of Howard University's 1920s Drama Program	83
10	"To Doubt Is Fatal": Eva La Gallienne and the Civic Repertory Theatre, 1926-1932	93
11	Sophie Treadwell's Play Machinal: Strategies of Reception and Interpretation	101
12	Sophie Treadwell's Summer with Boleslavsky and Lectures for the American Laboratory Theatre	111
13	On "The Verge" of a New Form: The Cabinet of Dr. Caligari and Susan Glaspell's Experiments in The Verge	119
14	They Knew What They Wanted: American Theatre's Use of Nonverbal Communication Codes to Marginalize Non-Native Characters in the 1920s	131
15	The Poet Lore Plays: A New Chinese Voice... But How New?	139
16	Against the Tide: Mordecai Gorelik and the New York Theatre of the 1920s - Processional, Nirvana, The Moon is a Gong, and Loudspeaker	149
17	"Another Revolution to Be Heard From": Jane Heap and the International Theatre Exposition of 1926	157
18	Architecture for the Twentieth Century: Imagining the Theatre of the 1920s	167
	Selected Bibliography	179
	Index	183
	About the Editors and Contributors	193