| Acting Naturally |
| Acknowledgments |
| Introduction |
 | 1— Acting Like a Man |
| • | Contesting Masculinities and Performance |
| • | Bohemians, Burlesque, and the Performance of Race |
| • | The Bachelors Watch an "Artiste" |
| 2— "Funny Personations": Theater and the Popularity of the Deadpan Style |
| 3 — "Absorb the Character": Acting and "Authenticity" |
| 4— The Expressive Body, Gesture, and Writing |
| • | Physical Circuits |
| • | Gesture, Revelation, and "Natural Language" |
| • | Gender, Gesture, and Public Exposures |
| • | Physiologies of Voice and Writing |
| 5— Mediumship, "Mental Telegraphy," and Masculinity |
| • | Physics of Mediumship / Hysterics of Realism |
| • | "Addle-Headed, Feminine Men" |
| 6— "It's Got to Be Theatrical": Spectacles of Power and Products |
| • | Symbols and Shows |
| • | Pageants and Carnivals |
| • | Market And Theater |
| 7— Melodrama, Transvestism, Phantasm: (Un)fixing the Theatrical Sign |
| Notes |
| • | Introduction |
| • | 1— Acting Like a Man |
| • | 2— "Funny Personations": Theater and the Popularity of the Deadpan Style |
| • | 3 — "Absorb the Character": Acting and "Authenticity" |
| • | 4— The Expressive Body, Gesture, and Writing |
| • | 5— Mediumship, "Mental Telegraphy," and Masculinity |
| • | 6— "It's Got to Be Theatrical": Spectacles of Power and Products |
| • | 7— Melodrama, Transvestism, Phantasm: (Un)fixing the Theatrical Sign |
| Index |
| • | A |
| • | B |
| • | C |
| • | D |
| • | E |
| • | F |
| • | G |
| • | H |
| • | I |
| • | J |
| • | K |
| • | L |
| • | M |
| • | N |
| • | O |
| • | P |
| • | Q |
| • | R |
| • | S |
| • | T |
| • | U |
| • | V |
| • | W |
| • | Z |
