Memory in Play makes evident that memory, though critically neglected,
is as significant as race, gender, and class as a feature of dramatic
character construction. Favorini skillfully argues that dramatic models
of memory need to be reckoned along with the constructions of
philosophy, psychology, and neuroscience in order to render a full
account of the history of memory. Through this lens, the work of
Aeschylus, Shakespeare, Goethe, Ibsen, and Strindberg, as well as such
pillars of twentieth-century drama as Pirandello, O'Neill, Wilder,
Sherwood, Williams, Miller, Anouilh, Beckett, Pinter, Friel, Shepard,
Kennedy, and Wilson are explored. By offering a vantage point for
recognizing how dramatists have contributed to the conception of memory
alongside other "memographers," irrespective of discipline, a lingua
franca emerges for discussing a phenomenon studied from the perspectives
of so many theoretical bases.