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Cambridge University Press по журналам "Theatre Research International"

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  • Milhous Judith; Hume Robert D. (Cambridge University Press. Cambridge, UK, 1986--01)
    The number of late seventeenth-century promptbooks known to scholars has increased astonishingly in the last thirty years, but further discoveries are always welcome. We are pleased to be able to report a new find: a very ...
  • GREHAN HELENA (Cambridge University Press. Cambridge, UK, 2010-03-01)
    Based largely on transcripts and documentary footage of the trial, the play Aalst recounts the brutal killing of two children by their parents in the Belgian town of Aalst in 1999. This article explores the ways in which ...
  • Katritzky M. A. (Cambridge University Press. Cambridge, UK, 1999--01)
    In 1895, Aby Warburg drew attention to ways in which information of theatre historical significance can be gained from visual images, in an article which outlines a clear methodology for their evaluation as historical ...
  • Speaight George (Cambridge University Press. Cambridge, UK, 1993--01)
    Among the abundant iconographical records of the commedia dell' arte are a handful of engravings depicting vivaciously capering single characters, of which three have been reproduced by Allardyce Nicoll, where they are ...
  • Williford Christa (Cambridge University Press. Cambridge, UK, 2000--01)
    A small, anonymous grisaille(Figure 1)from the collection of the Musée des Arts Décoratifs in Paris is among the more familiar images of seventeenth-century French theatre history. It depicts Cardinal Richelieu, Louis XIII, ...
  • ASTON ELAINE (Cambridge University Press. Cambridge, UK, 2007-07-01)
    This essay sets out to ask in what ways it might be critically productive to come back to the maternal as a subject for feminism. Drawing on Eve Sedgwick's desire to ‘loosen’ the antiessentialist drive to get ‘beyond’ ...
  • Kruger Loren (Cambridge University Press. Cambridge, UK, 1996--01)
    I begin with two images of African actors. The first, from Asinamali by the South African playwright Mbongeni Ngema (1985; Plate 23), shows a group pose drawn directly from protest theatre—angry men in prison khaki, with ...
  • Harding Frances (Cambridge University Press. Cambridge, UK, 1996--01)
    The tension between form and meaning pervades the entire life of the performer … How is routine life connected to that intensified union of form and meaning which constitutes performance?
  • Molinari Cesare (Cambridge University Press. Cambridge, UK, 1998--01)
    In 1880, the first modern editor to publish a collection of commedia dell'arte scenarios noted, not without surprise, that ‘the earliest professional actors were almost all writers as well’. ‘Almost all’ is perhaps an ...
  • Konijn Elly (Cambridge University Press. Cambridge, UK, 1995--01)
    The acting of emotions on the stage can be looked at from three different points of view. Traditionally, the relationship of the emotions of the actor to the presupposed emotions of his character is discussed from a ...
  • Greenwald Michael L. (Cambridge University Press. Cambridge, UK, 1995--01)
    Given the omnipresence of performers of all political stripes speaking for a variety of causes and candidates, it is difficult to remember a time when artist-activists were not an integral part of America's theatrical ...
  • Cowhig Ruth (Cambridge University Press. Cambridge, UK, 1979-02-01)
  • Davis Tracy C. (Cambridge University Press. Cambridge, UK, 1988--01)
    Despite the tendency for Victorian performers to be credited with increasing respectability and middle-class status and for actors to receive the highest official commendations, the popular association between actresses ...
  • Неизвестный автор (Cambridge University Press. Cambridge, UK, 2007-10-01)
  • Cohen Michael (Cambridge University Press. Cambridge, UK, 1990--01)
    Margaretta D'Arcy and John Arden's six part cycle, The Non-Stop Connolly Show (1975), is probably the most ambitious attempt in English to dramatize working-class and socialist history. However, productions have been ...
  • Rufolo-Hörhager Dana (Cambridge University Press. Cambridge, UK, 1984--01)
  • Lewenhaupt Inga (Cambridge University Press. Cambridge, UK, 1993-03-01)
    On 15 September 1992 one of the most important new operas written in Scandinavia had its opening night at The Royal Opera House, Stockholm. The opera, based on Strindberg's A Dream Play, libretto and music by Ingvar Lidholm, ...
  • Davison Rosena (Cambridge University Press. Cambridge, UK, 1985--01)
    On January 2nd 1773 the abbé Galiani wrote to his friend in Paris, Mme d'Epinay: ‘Qu'on voie Paris et Naples, on verra une légère esquisse du tout et du néant.’ He is referring to the dearth of interesting people and events ...
  • Hemmings F. W. T. (Cambridge University Press. Cambridge, UK, 1993--01)
    One of the incidental attractions of joining the Comédie-Française had always been that the Society could be relied on to look after the well-being of its veteran members even after they had left the stage, provided that ...
  • Prunet Monique (Cambridge University Press. Cambridge, UK, 2000--01)
    The art of directing has undergone great changes in Bulgaria over the last forty years. New trends appeared in the 1960s with the Theatre of Burgas, whose influence is felt to this day. Two generations are working alongside ...