The Backstage as the Diegetic Space in the (Neo)Gothic Dramas

CONTENTS
INTRODUCTION
CHAPTER 1. THEORETICAL FOUNDATIONS
1.1 The Theatre - the essential semiotic premises
1.2 Recognizing theatrical spaces
1.3 Recognizing the Gothic space
1.4 The performance of Gothic theatrical spaces - the backstage
CHAPTER 2. THE BACKSTAGE IN JOANNA BAILUE'S GOTHIC DRAMAS
2.1 The undesirable supernatural phenomena as the visionary reflections enslaved in The Phantom's backstage (1836)
2.2 The body and bodily manifestations as the representations of accumulated emotional intensities and strong passions in De Mcnforf's backstage (1798)
2.3 The backstage as the metaphorical embodiment of the mind realizing social anxieties, inequalities and gender hierarchy in Orra (1812)
CHAPTER 3. THE BACKSTAGE IN SAM SHEPARD'S NEOGOTHIC DRAMAS
3.1 The dishonourable phenomena and undesirable illegitimate occurrences as the signs of familial disgrace that, though suppressed in the backstage area, affect the mind realizing the mutilation of the physical as well as emotional bonds in Buried Child (1978)
3.2 The body and bodily drives as the re-presentation of the socially illicit affections and the tabooed incestuous entanglements veiled in Fool for Law's backstage (1983)
CONCLUSION
APPENDIX
WORKS CITED