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Artykuły w czasopismach na temat "Baz Kershaw"
Paget, Derek. "The Precariousness of Political Theatre". New Theatre Quarterly 16, nr 4 (listopad 2000): 388–90. http://dx.doi.org/10.1017/s0266464x00014135.
Pełny tekst źródłaKershaw, Baz. "Fighting in the Streets: Dramaturgies of Popular Protest, 1968—1989". New Theatre Quarterly 13, nr 51 (sierpień 1997): 255–76. http://dx.doi.org/10.1017/s0266464x0001126x.
Pełny tekst źródłaKershaw, Baz. "Poaching in Thatcherland: a Case of Radical Community Theatre". New Theatre Quarterly 9, nr 34 (maj 1993): 121–33. http://dx.doi.org/10.1017/s0266464x00007715.
Pełny tekst źródłaKershaw, Baz. "Dramas of the Performative Society: Theatre at the End of its Tether". New Theatre Quarterly 17, nr 3 (sierpień 2001): 203–11. http://dx.doi.org/10.1017/s0266464x0001472x.
Pełny tekst źródłaKershaw, Baz. "Building an Unstable Pyramid: the Fragmentation of Alternative Theatre". New Theatre Quarterly 9, nr 36 (listopad 1993): 341–56. http://dx.doi.org/10.1017/s0266464x00008241.
Pełny tekst źródłaKershaw, Baz. "The Theatrical Biosphere and Ecologies of Performance". New Theatre Quarterly 16, nr 2 (maj 2000): 122–30. http://dx.doi.org/10.1017/s0266464x00013634.
Pełny tekst źródłaBoon, Richard. "A Review ofThe Radical in Performance: Between Brecht and Baudrillardby Baz Kershaw". Contemporary Theatre Review 11, nr 2 (styczeń 2001): 93–95. http://dx.doi.org/10.1080/10486800108568628.
Pełny tekst źródłaKershaw, Bez. "Performance Studies and Po-chang’s Ox: Steps to a Paradoxology of Performance". New Theatre Quarterly 22, nr 1 (luty 2006): 30–53. http://dx.doi.org/10.1017/s0266464x06000285.
Pełny tekst źródłaFreeman, Sara. "Towards a Genealogy and Taxonomy of British Alternative Theatre". New Theatre Quarterly 22, nr 4 (20.10.2006): 364–78. http://dx.doi.org/10.1017/s0266464x06000558.
Pełny tekst źródłaCochrane, Claire. "Theatre and Urban Space: the Case of Birmingham Rep". New Theatre Quarterly 16, nr 2 (maj 2000): 137–47. http://dx.doi.org/10.1017/s0266464x00013658.
Pełny tekst źródłaRozprawy doktorskie na temat "Baz Kershaw"
McEwen, Celina. "Investing in Play: Expectations, Dependencies and Power in Australian Practices of Community Cultural Development". Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/3680.
Pełny tekst źródłaMcEwen, Celina. "Investing in Play: Expectations, Dependencies and Power in Australian Practices of Community Cultural Development". University of Sydney. Department of Performance Studies, 2008. http://hdl.handle.net/2123/3680.
Pełny tekst źródłaThis thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.