A Companion to Shakespeare and PerformanceBarbara Hodgdon, W. B. Worthen John Wiley & Sons, 15 апр. 2008 г. - Всего страниц: 704 A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies.
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... Identity in Early Modern Drama (2002), as well as co-editor for Renaissance Drama. She is currently at work on a book entitled Reading Food: A Culinary History from Shakespeare to Martha Stewart. W. B. Worthen is Professor and Chair of ...
... Identity in Early Modern Drama (2002), as well as co-editor for Renaissance Drama. She is currently at work on a book entitled Reading Food: A Culinary History from Shakespeare to Martha Stewart. W. B. Worthen is Professor and Chair of ...
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... Identities of Performance,” and “Performing Pedagogies” — suggest some local as well as more global categories. Yet the voices represented here do not confine themselves to or within those areas but constitute contributions to an ...
... Identities of Performance,” and “Performing Pedagogies” — suggest some local as well as more global categories. Yet the voices represented here do not confine themselves to or within those areas but constitute contributions to an ...
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... identity. And insofar as identity is itself a form of property, as law so often asserts, theatre architecture is a kind of laboratory for investigations not only into the loss of identity but also into the condition of being without ...
... identity. And insofar as identity is itself a form of property, as law so often asserts, theatre architecture is a kind of laboratory for investigations not only into the loss of identity but also into the condition of being without ...
Стр. 29
... identity herself to the audience, her return to third person address three times in the scene emphasizes her awakening to a self she had not yet known. Her sisters do not use this form of speech. It is as if Cordelia feels Lear's ...
... identity herself to the audience, her return to third person address three times in the scene emphasizes her awakening to a self she had not yet known. Her sisters do not use this form of speech. It is as if Cordelia feels Lear's ...
Стр. 39
... identity, the world of logos and branding, franchising and globalization, to which it has recently aspired, redefining as it does so what a theatre company is and how it sees itself when it seeks to align its form, its sense of company ...
... identity, the world of logos and branding, franchising and globalization, to which it has recently aspired, redefining as it does so what a theatre company is and how it sees itself when it seeks to align its form, its sense of company ...
Содержание
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Part II Materialities Writing and Performance | 139 |
Part III Histories | 231 |
Part IV Performance Technologies Cultural Technologies | 397 |
Part V Identities of Performance | 509 |
Part VI Performing Pedagogies | 625 |
Index | 659 |
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A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2008 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2007 |
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