Gotowa bibliografia na temat „Radical group theatre”
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Artykuły w czasopismach na temat "Radical group theatre"
Kershaw, 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. "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 źródłaGalella, Donatella, Masi Asare, Jordan Ealey, SAJ, Hye Won Kim, Matthew D. Morrison, Fred Moten, Karen Shimakawa i Celine Parreñas Shimizu. "MT/D, or change: An anti-racist musical theatre reading group". Studies in Musical Theatre 16, nr 1 (1.04.2022): 53–76. http://dx.doi.org/10.1386/smt_00085_1.
Pełny tekst źródłaKérchy, Vera. "The Responsible Hands of Theatre : Minor and Major Forces on the Stage of Metanoia Artopédia". Theatron 16, nr 4 (2022): 118–28. http://dx.doi.org/10.55502/the.2022.4.118.
Pełny tekst źródłaNielsen, Ken. "Gone With the Plague". Nordic Theatre Studies 25, nr 1 (15.11.2018): 58–70. http://dx.doi.org/10.7146/nts.v25i1.110898.
Pełny tekst źródłaNielsen, Ken. "Gone With the Plague". Nordic Theatre Studies 25, nr 1 (15.11.2018): 58–70. http://dx.doi.org/10.7146/nts.v25i1.110898.
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 źródłaHuttunen, Tomi. "Montage in Russian Imaginism: Poetry, theatre and theory". Sign Systems Studies 41, nr 2/3 (7.11.2013): 219–29. http://dx.doi.org/10.12697/sss.2013.41.2-3.05.
Pełny tekst źródłaPaget, Derek. "Theatre Workshop, Moussinac, and the European Connection". New Theatre Quarterly 11, nr 43 (sierpień 1995): 211–24. http://dx.doi.org/10.1017/s0266464x0000909x.
Pełny tekst źródłaFarinelli, Patrizia. "Political, intimate and spectacular". Maska 31, nr 181 (1.12.2016): 26–38. http://dx.doi.org/10.1386/maska.31.181-182.26_1.
Pełny tekst źródłaRozprawy doktorskie na temat "Radical group theatre"
Foster, Michael E., i n/a. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975". Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040810.091417.
Pełny tekst źródłaFoster, Michael E. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366270.
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Doctor of Philosophy (PhD)
School of Arts
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Montgomery, R. L. "The idea(l) of the 'group' in radical theatre: A dramaturgical analysis of three American Theatre Groups of the 1960s". Thesis, University of Canterbury. Theatre & Film Studies, 2002. http://hdl.handle.net/10092/4846.
Pełny tekst źródłaKsiążki na temat "Radical group theatre"
Holmes, Sean P. Epilogue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0008.
Pełny tekst źródłaCzęści książek na temat "Radical group theatre"
Sambo, Usman, i Babayo Sule. "Financing as a Livewire for Terrorism". W Money Laundering and Terrorism Financing in Global Financial Systems, 157–82. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8758-4.ch007.
Pełny tekst źródłaYoung, Dannagal Goldthwaite. "The Counterculture Comics versus the Hate Clubs of the Air". W Irony and Outrage, 8–31. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190913083.003.0001.
Pełny tekst źródłaPapanikolaou, Dimitris. "Archive Trouble". W Greek Weird Wave, 171–94. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474436311.003.0007.
Pełny tekst źródłaOakley, Warren. "When sorrows come, they come not single spies". W Thomas 'Jupiter' Harris, 123–70. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526129123.003.0004.
Pełny tekst źródłaLena, Jennifer C. "The WPA and the Opening of the American Arts". W Entitled, 26–40. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0002.
Pełny tekst źródłaHalliwell, Martin. "The Ceremony is about to Begin: Performance and 1968". W Reframing 1968. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748698936.003.0008.
Pełny tekst źródła"Examples of British Brecht discussed here include George Devine’s production of The Good Woman of Setzuan, Sam Wanamaker’s The Threepenny Opera and William Gaskill’s The Caucasian Chalk Circle. (Throughout this book all the play titles given reproduce exactly the translations used for the particular productions discussed.) The chapter also includes a brief assessment of the relationship between the work of Brecht and that of key British playwrights: John Arden, Arnold Wesker, John Osborne, Robert Bolt and Edward Bond. Chapter 3 describes the ways in which the political upheavals of 1968 and the social and artistic developments in Britain made Brecht eminently suitable and accessible to radical theatre groups. It analyses the impact of politically committed theatre practitioners’ attempts to take on all aspects of Brecht’s dramatic theory, political philosophy and, as far as possible, theatre practice. Detailed analyses of Brecht productions by some key radical companies (e.g. Foco Novo, Belt and Braces Roadshow, Liverpool’s Everyman Theatre, Manchester’s Contact Theatre and Glasgow’s Citizens Theatre) demonstrate how their commitment to the integra-tion of political meaning and aesthetic expression contributed to the growing understanding and acceptance of Brecht’s theatre in Britain. This achievement is contrasted in Chapter 4 with the ways in which Brecht’s plays were incorporated into the classical repertoire by the national companies – the Royal Shakespeare Company and the National Theatre – in the 1970s and 1980s. Here there is an assessment of the damaging impact on these Brecht productions of the companies’ hierarchical structure and organisation, the all-too-frequently non-collaborative approaches to production, and the undue emphasis placed on performance style and set design, often in isolation from a genuine commitment to the intrinsic, socio-political meaning of the texts. The chapter centres on the productions of Brecht in the 1970s and 1980s for the Royal Shakespeare Company directed by Howard Davies, and on those at the National Theatre directed by John Dexter and Richard Eyre. Chapter 5 presents three case studies, that is, detailed accounts based on access to rehears-als and on interviews with the relevant directors and performers, of three major British productions of Brecht plays in the early 1990s. The first case study is of the award-winning production of The Good Person of Sichuan at the National Theatre in 1989/90, directed by Deborah Warner, with Fiona Shaw as Shen Te/Shui Ta. The second is of the Citizens Theatre’s 1990 production of Mother Courage, directed by Philip Prowse, with Glenda Jackson in the title role. And the third is of the National Theatre’s The Resistible Rise of Arturo Ui, directed in 1991 by Di Trevis, with Antony Sher as Ui. The main focus of this chapter and its case-studies is the relationship in practice between Brechtian theory, and the aesthetics and the politics of the texts, in both the rehearsal process and the finished performances." W Performing Brecht, 16. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-12.
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