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Performance Studies: An Introduction (review)

relationship to literary studies, even as she affirms its newer relationship with cultural studies. Through a reading of Raymond Williams’s oeuvre, Jackson demonstrates that “the transition from literary to cultural studies can be seen to take place through the vehicle of ‘modern drama’” (41). More specifically, it is through modern drama’s “embedded practicality” and “extra-literary aesthetics” that the transformation from literary to cultural studies takes place. Similarly, Jackson argues that modern drama is also a linchpin in the relationship between theatre studies and performance studies. In both cases, Jackson uncovers disciplinary blind spots and argues powerfully for a longer, more complicated disciplinary genealogy, one that affirms the value of both newer and older origins.