PRAISE FOR CRITICAL PLAYS -- TABLE OF CONTENTS -- ACKNOWLEDGEMENTS -- INTRODUCTION -- PROLOGUE -- CRITICAL FICTIONS -- ABOUT THIS BOOK -- INFORMING THEORY -- PERFORMANCE TEXT AS RESEARCH/ PLAYWRITING AS RESEARCH -- THE AUDIENCE -- REFERENCES -- CAST OF CHARACTERS AND SETTING -- CAST OF CHARACTERS -- SETTING -- PROLOGUE -- KURT -- BARB -- SCENE / CLASS 1: SUBJECTIVITIES -- SCENE / CLASS 2: COGNITIVE / CREATIVE TENSIONS, OR WHAT I KNOW VERSUS WHAT I FEEL -- INTERMEZZO 1: MISCOMMUNICATIONS -- SCENE / CLASS 3: TRUTH AND VERISIMILITUDE. 5:08PM -- INTERMEZZO 2: DUSTING DOWN THE MUSE -- SCENE / CLASS 4: FINDING THE FORM -- INTERMEZZO 3: ONE WAY OR ANOTHER -- SCENE / CLASS 5: TELLING STORIES (WHOSE STORIES?) -- SCENE / CLASS 6: QUESTIONS OF REPRESENTATION -- INTERMEZZO 4 - ART AS TRUTH? HOLDING ON TO THE MUSE -- SCENE 7: RESEARCHER AS ARTIST / ARTIST AS RESEARCHER -- SCENE / CLASS 8: DOTTING THE I'S AND CROSSING THE T'S - RIGOUR OR RIGOR MORTIS? -- SCENE / CLASS 9: MUSE OR MUSEUM? THEORY ON THE STREET -- INTERMEZZO 5: BETWEEN A ROCK AND A HARD PLACE -- SCENE/ CLASS 10: CONTESTED TERRITORIES. WHEN BLURRING THE BOUNDARIES MEANS CROSSING THE LINE -- SCENE 11: CLASS NOTES -- SCENE / CLASS 12: CRITICAL PLAYS -- SCENE 13: CODA -- ADDITIONAL READING -- ABOUT THE AUTHORS.