Coward, Noël (continued)

“staginess” of his theatrical technique, 111–112

wit of, 111–112, 116, 118, 126

Craig, Gordon, 70

“Critics and Criticism,” 1992 Harvard conference, 52, 141n74

“Currency of Fame,” 2000 museum exhibition, 147n151

de Certeau, Michel, 3, 133n7

Derrida, Jacques, 1–2, 4, 41, 133n2, 138n58, 143n96

views archive differently from Foucault, 138n58

Destinová, Ema, 95

Dietrich, Marlene, 96, 128

drama criticism, 8, 42–43, 48–54, 60–64

decline of American, 50–51

product of mass-market journalism, American, 48

Dreiser, Theodore, 23

essentialism, 1, 6, 128, 148n163

leading to reductive reading of Coward, 6, 111–112, 128, 148n163, 150n190

Edwards, Hilton (English actor, co-founder of the Gate Theatre), 66, 71, 74, 144n103

Flagstad, Kirsten (Norwegian soprano), 95

Foucault, Michel, 5, 138n58

views archive differently from Derrida, 138n58

Franz Josef, 101–102, 104, 108

use of theatre, 101, 106

Freytag, Gustav (German nationalist journalist and critic), 5, 134n13

Furtwängler, Wilhelm (German conductor), 95

Gaelic, 66–67, 72, 75, 82

failure to become Ireland’s language, 71, 75

Gassner, John (American theatre critic and editor), 54, 142n81

Gate Theatre of Dublin, 65–66, 71–76, 78–81

contrasted with The Abbey Theatre, 65, 72–73, 78

Geertz, Clifford, 3

Gielgud, John, 76–78, 87–88

criticism of Mac Liammóir, 76–78

criticism of Moissi, 88

Goethe, Johann, Wolfgang von, 4–5, 108

Gold, Mike (American Communist writer), 26–27, 136n37

Gründgens, Gustav (German actor), 95

Habsburg Monarchy, 84, 106, 108

social trauma of, 102

Hagen, Uta, 87