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Artykuły w czasopismach na temat „Theatrical”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 4 marca 2023

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1

Üstün, Menderes, i Metin Arıkan. "Teatral Temelli Eğitimin Özelliklerinin İncelenmesi". International Journal of Social Sciences 6, nr 27 (25.12.2022): 125–39. http://dx.doi.org/10.52096/usbd.6.27.10.

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In this study, it is aimed to examine the general characteristics of theater-based education. In theatrical-based education, it is essential to ensure that every child expresses himself and plays theatrically by respecting his feelings, ideas, abilities, differences, awareness, gender, family structure, the social and economic class in which he is included, the group of friends. In theater-based educational modeling, each child is evaluated as a creative, curious, active, interactive, cooperative student who has the potential to contribute to the game. At this stage, it is expected of the teacher in the role of educator in educational environments to ensure that all children experience theatrical play practices by respecting the social, cultural, artistic and physical diversity in the classroom environment, to guide and support those who play when necessary. However, in theatrical based educational modeling, although the game is played under the supervision of an adult, it is certain that the main actors here are children. Key Words: Education, Theatrical, Theatrical-Based Education

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2

Nyanda, J. "A Theatrical Reading of a Theatrical Life". Shakespeare in Southern Africa 26, nr 1 (14.10.2014): 141. http://dx.doi.org/10.4314/sisa.v26i1.11.

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Reynolds. "Theatrical Marriages". Shaw 41, nr 1 (2021): 217. http://dx.doi.org/10.5325/shaw.41.1.0217.

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Hamilton, James R. "Theatrical Enactment". Journal of Aesthetics and Art Criticism 58, nr 1 (2000): 23. http://dx.doi.org/10.2307/432347.

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Jannarone, Kimberly. "Theatrical Confrontations". Theatre Journal 57, nr 2 (2005): 280–84. http://dx.doi.org/10.1353/tj.2005.0066.

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6

Boone, Joseph A., i Joseph Litvak. "Theatrical Victorians". NOVEL: A Forum on Fiction 27, nr 2 (1994): 218. http://dx.doi.org/10.2307/1345828.

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Andrzejewski, Adam, i Marta Zaręba. "Theatrical Scripts". Rivista di estetica, nr 65 (1.08.2017): 177–94. http://dx.doi.org/10.4000/estetica.2169.

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Bonnevier, Katarina. "Theatrical Devices". Thresholds 23 (styczeń 2001): 82–85. http://dx.doi.org/10.1162/thld_a_00416.

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DOBSON, MICHAEL. "THEATRICAL SOURCES". Essays in Criticism XLI, nr 2 (1991): 166–72. http://dx.doi.org/10.1093/eic/xli.2.166.

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Rozik, Eli. "Theatrical Irony". Theatre Research International 11, nr 2 (1986): 132–51. http://dx.doi.org/10.1017/s0307883300012165.

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It is my intention to derive the concept of ‘theatrical irony’ from the general theory of theatrical communication.The basic meaning of the term ‘irony’, from the Greek word ‘ειρωνεια’, was ‘dissimulation’. Over the centuries, this term has been extended to additional semantic fields and consequently acquired new meanings as in ‘Socratic irony’, ‘philosophical irony’, ‘romantic irony’, ‘dramatic irony’, ‘tragic irony’, and so on. At the same time, a number of more colloquial expressions were introduced as well, as in ‘ironic smile’, ‘irony of events’, ‘irony of fate’, and so on. I am of the opinion, however, that despite the diversity of such phrases and regardless of their partial overlap, it is still possible to unveil a common semantic core. Furthermore, it is my belief that our understanding of theatrical irony benefits from all these additional usages.

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11

Giaccherini, Enrico. "Theatrical Chaucer". European Medieval Drama 2 (styczeń 1998): 85–98. http://dx.doi.org/10.1484/j.emd.2.300903.

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12

Cerasano, S. P. "Theatrical Movements". Shakespeare Quarterly 56, nr 3 (2005): iii—x. http://dx.doi.org/10.1353/shq.2006.0003.

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13

Butler, Judith. "Theatrical Machines". differences 26, nr 3 (listopad 2015): 23–42. http://dx.doi.org/10.1215/10407391-3340336.

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14

Devine, Michael. "Returning to Roots: Pinter as Alternative Theatre Playwright". ELOPE: English Language Overseas Perspectives and Enquiries 9, nr 1 (1.06.2012): 41–49. http://dx.doi.org/10.4312/elope.9.1.41-49.

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The theatrical oeuvre of Harold Pinter has its origins in the alternative theatre movement in Britain in the late 1950s. This paper will examine two later, well-known plays, The Caretaker and Betrayal, as case studies for an examination of how the alternative theatre elements which informed Pinter’s early work continue to be present in plays which are generally regarded as more theatrically conventional and mainstream. The theatrical context in which Pinter first developed has become obscured by his commercial success and political notoriety. It can be argued that the natural position for this playwright on the theatrical spectrum lies within the fringe and alternative theatre communities. This paper explores the idea that Brook, Brecht and Grotowskian techniques may be more effective, and more organic, to Pinter’s work than the mainly realistic interpretations which became the norm as the playwright’s celebrity increased.

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15

Rakhimova, Maya V. "Reflections on the theatrical nature of a human being: suggestion and its hidden potential". Вестник Пермского университета. Философия. Психология. Социология, nr 2 (2022): 242–53. http://dx.doi.org/10.17072/2078-7898/2022-2-242-253.

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The scientific interest of this work lies in the field of philosophical anthropology — the study of a human being as a complex open self-organizing system, where one of the constituent elements is, presumably, Theatricality. The author believes that theatrical techniques used by a human being in everyday life help him to adapt to the life in society, to others, and to himself. Theatricality appears as a kind of survival mechanism and a way of adapting to external and internal challenges. Being in plain sight, this amazing mechanism of social communication still remains somewhat hidden, studied abundantly but fragmentarily. It is difficult to trace the genesis of the formation of the Homo Theatrical’s phenomenon as well as to understand the mechanism and purpose of his everyday theatrical behavior. The Play and Theatricality as phenomena are closely intertwined, but not equal to each other. The Play does not involve breaking the rules, while the Homo Theatrical breaks the rules when he needs it. Among the elements of the theatrical nature of a human being, one can distinguish pretense, representation, manipulation, artistry, cunning, pragmatism, as well as suggestion. Suggestion appears as a phenomenon that is very common in the social environment. It has a viral potential and represents a kind of «psycho infection» for the brain. A Homo Theatrical strives to use suggestion to achieve pragmatic goals and, therefore, the theatrical nature itself acquires a viral potential. Reflection upon the viral potential of suggestion («psycho infection») contributes to a deeper analysis of the viral potential of the theatrical nature of a human being, which cannot but rely on an irresistible craving for suggestion, understanding the power of the influence of suggestion in achieving the desired.

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16

Davis, Tracy C. "Laborers of the Nineteenth-Century Theater: The Economies of Gender and Industrial Organization". Journal of British Studies 33, nr 1 (styczeń 1994): 32–53. http://dx.doi.org/10.1086/386043.

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In the purview of theater history, as on the theatrical stage itself, performers' and writers' command on attention is almost complete. Ancient Greek gave a word to its mask builders (skeuopoio), but apart from distinct vocabulary, history leaves few traces of theatrical laborers. A glance through any number of theatrical books, periodicals, bibliographies, biographical guides, and encyclopedias reveals the predominance of performers in the public eye, though managers, directors, designers, and critics occasionally attract scholarly studies. Even among novels, journalism, and theatrical guidebooks—genres that venture behind the scenes—the personnel that dress, light, paint, and build shows are rarely present. Their identity and labor is marginalized in the annals because it is marginalized in the conceptualization of what is important in theater production. Susan Todd takes unusual measures to challenge this tradition by documenting the experience of women stage managers in the contemporary theater, but in the historical realm this has not been attempted. Writers devote attention to how the stage actually worked (how stage effects were achieved and how the creative chain of command functioned), but to date no one has examined the structures and traditions of backstage labor by asking basic questions about the sociopolitical organization of the work.Only in highly esoteric treatises or the lightest of literature do theatrica jewelers, armorers, weavers, hosiers, basket makers, shoemakers, furnishers, cosmeticians, perruquiers, costumiers, seamsters, dressers, property makers, carpenters, gas fitters, printers, or ticket takers usually appear. These are all specialized trades and occupations indispensable to the building and running of nineteenth-century theatrical entertainment.

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17

Gryzunova, Olga V. "Theatrical and Non-Theatrical Thinking in Actual Choreographic Practice". Observatory of Culture 18, nr 4 (11.10.2021): 416–23. http://dx.doi.org/10.25281/2072-3156-2021-18-4-416-423.

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The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer’s intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of “theatricality”, “non-theatricality”, “drama”, and “performativity” in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.

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18

Zich, Otakar, Emil Volek i Andrés Pérez-Simón. "The Theatrical Illusion". PMLA/Publications of the Modern Language Association of America 134, nr 2 (marzec 2019): 351–58. http://dx.doi.org/10.1632/pmla.2019.134.2.351.

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Otakar Zich (1879–1934) is a striking figure in modern czech aesthetics and art theory. A gifted librettist and opera composer and a professor at Charles University in Prague, his place in the history of aesthetics is still controversial. His Aesthetics of Dramatic Art (Estetika dramatického umění [1931]) came out at a time of paradigmatic change in the humanities (the emergence in the 1930s of functional structuralism through the Prague linguistic circle). Also, it was only in the 1930s that the Czech theatrical avant-garde got into full swing. Zich's work apparently “fell short” both of the new scientific paradigm, imposed by the tandem of Roman Jakobson (1896–1982) and Jan Mukařovský (1891–1975), and of the expectations of the students of theater coming from Mukařovský's seminars, some of them already distinguished avant-garde directors (Veltruský 67). Zich's untimely death precluded the development of his project, as well as fruitful debate about it. Mukařovský, as Zich'fs protégé, felt obliged to address the work of his mentor, but his early semiotic reading was avowedly partial and tentative and barely concealed his puzzlement. This marginal inclusion in the new paradigm without real assimilation left Zich's complex and comprehensive undertaking out in the cold.

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19

Chekalov, Kirill A. "Rocambole’s theatrical mission". Vestnik of Kostroma State University, nr 3 (2019): 72–78. http://dx.doi.org/10.34216/1998-0817-2019-25-3-72-78.

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The article deals with the influence of theatrical aesthetics on Pierre Alexis Ponson du Terrail – the famous writer of the French popular literature of the second half of the 19th century. The great connoisseur of the theatre, Viscount of Ponson du Terrail filled his novels – and first of all, an extensive cycle of works about Rocambole – with allusions to the scenic practices of his time (first and foremost, he speaks about Parisian pulp theatres) and plays that had won favour with the commonalty: "Le Chiffonnier de Paris" by Félix Pyat and "La Tour de Nesle" by Alexandre Dumas. On the other hand, performability is a paradigmatic feature of feuilleton. Viscount of Ponson du Terrail was the leading representative of this genre. Particular attention is paid to the production of the play "Rocambole" by Auguste Anicet-Bourgeois and Ernest Blum (1864) and the transformations that the novel text underwent in the stage version.

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20

Jansson, Siv, i Hanna Scolnicov. "Woman's Theatrical Space". Modern Language Review 93, nr 1 (styczeń 1998): 165. http://dx.doi.org/10.2307/3733647.

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Sajewska, Dorota. "Toward Theatrical Communitas". Pamiętnik Teatralny 70, nr 3 (13.10.2021): 15–56. http://dx.doi.org/10.36744/pt.846.

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The term communitas, introduced into anthropological discourse by Victor Turner in the late 1960s, returned to humanist debates at the threshold of the twenty-first century by way of Roberto Esposito. Referring to Esposito’s concept of communitas, this essay brings out the anthropological tradition in thinking about the common, which Esposito had marginalized. The present author emphasized the importance of processuality and antistructural dimensions of egalitarian forms of togetherness, along with their potential to liberate human capacities of creativity. Examining the relation between munus and ludus, she shows theatricality residing immanently in the root of communitas. Focusing on the aesthetic and creative dimensions of togetherness helps in detecting multiple forms of commonality, and indicates various models of theatrical communitas. Exploring a nonnormative, transformative potential in experimental theater (Jerzy Grotowski, Sarah Kane, Ron Athey, Krzysztof Garbaczewski), she emphasizes collective, temporal, and excessive natures of theater that eschews the market-driven economy, along with the importance of a transversal communitas where the human being is only one of many actors. Some threads of the argumentation are expanded upon in a conversation with Leszek Kolankiewicz, included as an appendix.

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22

Bruegge, Andrew Vorder, i Larry F. Norman. "The Theatrical Baroque". Sixteenth Century Journal 33, nr 3 (2002): 905. http://dx.doi.org/10.2307/4144092.

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Travers, Bonnie, i Carrie Russell. "Theatrical Videodisc Acquisition". Acquisitions Librarian 6, nr 11 (27.04.1994): 125–33. http://dx.doi.org/10.1300/j101v06n11_12.

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Welch, Ellen R. "Diderot’s Theatrical Acoustics". Eighteenth-Century Studies 51, nr 4 (2018): 437–52. http://dx.doi.org/10.1353/ecs.2018.0012.

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Puchner, Martin. "Sade's Theatrical Passions". Yale Journal of Criticism 18, nr 1 (2005): 111–25. http://dx.doi.org/10.1353/yale.2005.0007.

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Harris, Richard, Kim Harris i Steve Baron. "Theatrical service experiences". International Journal of Service Industry Management 14, nr 2 (maj 2003): 184–99. http://dx.doi.org/10.1108/09564230310474156.

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Marcus, Sharon. "The Theatrical Scrapbook". Theatre Survey 54, nr 2 (22.04.2013): 283–307. http://dx.doi.org/10.1017/s0040557413000069.

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Librarian's nightmare or researcher's dream? Theatre historians frequently use and librarians happily acquire the rare theatrical scrapbook related to a single famous individual, but many undervalue and overlook ordinary theatrical albums, and with good cause: the ordinary theatrical scrapbook's provenance is often unclear, its compilers are usually unknown, and its contents are typically heterogeneous, commonplace, and decaying. The cracked bindings and flaking newsprint characteristic of such scrapbooks frustrate conservation, while their clippings, programs, and images pose serious cataloging challenges, shorn as they often are of identifying information. Finally, at least some of the material in these albums (such as newspaper clippings) is often duplicated elsewhere, making their contents easily seem redundant.

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Kerth, Thomas. "SIEGFRIED'S THEATRICAL LISTE". AMSTERDAMER BEITRÄGE ZUR ÄLTEREN GERMANISTIK 24, nr 1 (17.11.1986): 129–61. http://dx.doi.org/10.1163/18756719-024-01-90000013.

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Pentzell, Raymond J. "Cracked theatrical mirrors". Society 24, nr 2 (styczeń 1987): 78–82. http://dx.doi.org/10.1007/bf02695827.

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Moriarty, Michael. "Barthes's Theatrical Aesthetic". Nottingham French Studies 36, nr 1 (marzec 1997): 3–13. http://dx.doi.org/10.3366/nfs.1997.002.

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Fois, Eleonora. "Theatrical translation or theatrical adaptation? Staging Noises Off in Italy". Journal of Adaptation in Film & Performance 11, nr 3 (1.12.2018): 241–57. http://dx.doi.org/10.1386/jafp.11.3.241_1.

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Rozzoni, Claudio. "Body Becoming Image: The Theatrical Window". HORIZON. Studies in Phenomenology 4, nr 1 (2015): 114–23. http://dx.doi.org/10.18199/2226-5260-2015-4-1-114-123.

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Jabbari Hafez, Mahmoud, i Mothana Mohammed Sharif. "Production mechanisms and their implications for Iraqi theater techniques". Al-Academy, nr 105 (15.09.2022): 169–84. http://dx.doi.org/10.35560/jcofarts105/169-184.

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Theatrical production mechanisms were determined according to the extents of the theatrical performance, the directing plan, and the ideas that the theatrical performance seeks to convey to the audience. Accordingly, theatrical production mechanisms differ between one theatrical performance and another according to the requirements of each of them and the surrounding circumstances that accompany the production of theatrical performance, and in order to search for production mechanisms and their repercussions on the show. Theatrical The current research was divided into four chapters, namely (Chapter One - Methodology), which identified the research problem in the following question: What are the production mechanisms and their implications for the techniques of Iraqi theatrical performance? The aim of the research came according to the question of the problem, as well as the terminology was defined, while the second chapter (the theoretical framework) came in three sections (1- The concept of theatrical production mechanisms, 2- Management and planning in theatrical performance, 3- The production mechanism and techniques of theatrical presentation). As for the third chapter (research procedures) choosing a play (Silphon) and it was analyzed within the descriptive analytical approach, while the fourth chapter (results and conclusions) concluded the research with a list of sources.

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Rosa-Lavrentii, Sofiia. "The vision of the theatrical audience in the theatrical-critical discourse of Eastern Halychyna (Galicia) in the 1920s and 1930s". Artistic Culture. Topical Issues, nr 17(1) (8.06.2021): 84–92. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235425.

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The article is devoted to the study of the image of the theatrical spectator of the Ukrainian theater in the theatrical-critical discourse of the period of 1920–1930. The theatrical spectator as an integral part of the theatrical process, and hence of theatrical history, is often underestimated by theater historians. However, even in theatrical-critical publications of this period we can trace certain composite images of the Ukrainian theatrical audience. The article explores what these images looked like, how they changed and how they can also look at the theatrical processes of time. The main source in which the image of the theatrical spectator of Eastern Halychyna (Galicia) "appeared" istheatrical-critical publications in the press of that time. In fact, two main images are formed: the Lviv public and the so-called "provincial" (although according to the press rhetoric of the time it included both spectators of large cities Stanislaviv, Ternopil, and smaller towns: Yavoriv, Stryi and others and spectators in villages). Each of these groups had its own characteristics and its own requests to the theater.

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Korsten, Frans-Willem. "Öffentlichkeitand the Law's Behind the Scenes: Theatrical and Dramatic Appearance in European and U.S. American Criminal Law". German Law Journal 18, nr 2 (1.03.2017): 399–422. http://dx.doi.org/10.1017/s2071832200022008.

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In the present situation, law'sÖffentlichkeit, or its principal “openness to the public,” needs to be distinguished from its being the object of publicity as dominated by modern media. Law's public openness has historically been dependent on, and determined by, two theatrical modes of appearance: The theatrical-proper and the dramatic. Paradoxically, in both cases the jurisdictional “openness to the public” works not only through forms of visibility but also forms of invisibility. These two theatrical modes—and their dynamic play with visibility and invisibility—have been portrayed in works of art that have influenced the way general audiences imagine the law to work. These works also correlate with the different histories and public appearances and openness of the European and the Anglo-American systems of law. Historically speaking, the European system has been more theatrically inclined, in the context of a distinctly imperial trajectory that has been dominated by the desire to stage the law and to follow correct procedure. The Anglo-American one, by contrast, is more dramatically inclined, and has followed a distinctly anti-imperial trajectory—whether anti-royal or anti-state—influenced by the desire to stage trials in which peers determine the dramatic outcome. Although both systems are basically open to the public, they both work via a dynamic of protective invisibility. Yet due to current developments, the elements of invisibility in both systems tend to predominate over the elements of visibility. This suggests that both systems are moving toward a form of legal closure that is averse to the original theatrical and dramatic appearance and openness of law.

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Dombrovska, Valeriia, i Viktoriia Prylipko. "METHOD OF THEATRICAL EXPRESSION". Pedagogical Education: Theory and Practice 2, nr 26 (8.05.2019): 70–76. http://dx.doi.org/10.32626/2309-9763.2019-26-2.70-76.

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McGuire, Philip C., Alan C. Dessen i James C. Bulman. "Recovering Shakespeare's Theatrical Vocabulary". Shakespeare Quarterly 49, nr 3 (1998): 349. http://dx.doi.org/10.2307/2902274.

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Crochunis, Thomas. "Writing Gothic Theatrical Spaces". Gothic Studies 3, nr 2 (sierpień 2001): 156–69. http://dx.doi.org/10.7227/gs.3.2.4.

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Howarth, W. D., i David Maskell. "Racine: A Theatrical Reading". Modern Language Review 88, nr 4 (październik 1993): 977. http://dx.doi.org/10.2307/3734471.

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Hall, Edith A., Denis Knoepfler, T. B. L. Webster, J. R. Green, David Wiles, Klaus Neiiendam, Richard Green i Eric Handley. "Review Article: Theatrical Archaeology". American Journal of Archaeology 101, nr 1 (styczeń 1997): 154. http://dx.doi.org/10.2307/506253.

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Siek, Stephen. "Benjamin Carr's Theatrical Career". American Music 11, nr 2 (1993): 158. http://dx.doi.org/10.2307/3052553.

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Zatlin, Phyllis. "Observations on Theatrical Translation". Translation Review 112, nr 1 (2.01.2022): 132–37. http://dx.doi.org/10.1080/07374836.2022.2066392.

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Guday-Kashtalyan, V. G. "Musical and theatrical symphony". Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 67, nr 3 (3.08.2022): 301–8. http://dx.doi.org/10.29235/2524-2369-2022-67-3-301-308.

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The article considers the specifics of the manifestation of symphonism in the musical and theatrical art, the peculiarity of relations – the interaction and interpenetration of the musical and theatrical principles of thinking in the genres of opera and ballet, which allows us to actualize the problem of musical and theatrical symphonism. The main and most important thing for understanding this phenomenon is the identification of the actual musical-symphonic or symphonized construction, in which theatricality or theatrical action is clothed. The selected historical and theoretical perspective allows us to determine the symphonic constructions of the bicentric, polycentric and monocentric types.

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Roffman, Frederick S., i Richard Traubner. "Operetta: A Theatrical History". Notes 41, nr 3 (marzec 1985): 505. http://dx.doi.org/10.2307/941161.

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Alatawi, Maha. "When Narrative Becomes Theatrical". Harold Pinter Review 5, nr 1 (1.05.2021): 107–20. http://dx.doi.org/10.5325/haropintrevi.5.2021.0107.

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ABSTRACT Storytelling is an integral component of Irish tradition, folklore, and culture. Ireland's rich narrative tradition can be traced back to the early oral act of storytelling, undertaken by the seanchaí (storyteller or historian). Despite the wide spectrum of studies and broadly ranging arguments on storytelling in general and other specific aspects, in Irish drama narrative and the monologue, as well as narrative levels and types of narrators, have never been analyzed. In narratological terms Irish drama is rich with various degrees of diegetic narrativity employed differently by its various playwrights. This article looks more closely into a subject that until now has not received attention in the context of Irish theatre. In Irish theatre, in which language, narrative, and storytelling are recurrent topics, it is crucial that we understand how narrative is more complicated than the simple telling of a story and that it possesses techniques and levels that are worth reflecting on for their ability to change nuance and the experience of the audience.

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Maschio, Geraldine, Richard Traubner, Glenn Loney, Gerald Bordman i Ethan Mordden. "Operetta: A Theatrical History". Theatre Journal 37, nr 2 (maj 1985): 237. http://dx.doi.org/10.2307/3207081.

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Skloot, Robert. "Theatrical Images of Genocide". Human Rights Quarterly 12, nr 2 (maj 1990): 185. http://dx.doi.org/10.2307/762376.

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Shepherd-Barr, Kirsten. "Modernism and Theatrical Performance". Modernist Cultures 1, nr 1 (maj 2005): 59–68. http://dx.doi.org/10.3366/e2041102209000057.

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In ‘Modernism and Theatrical Performance’ Kirsten Shepherd-Barr surveys the status of theatre within histories of modernisms and argues that despite a current claim to interdisciplinary awareness by modernist scholars, avant-garde theatrical performance remains marginalised by critical paradigms dominated by a focus on textuality and the divorce of the ‘performative’ from the theatrical within contemporary theory. She argues that narratives of modernism have yet to register the rise of performance as a field within drama and theatre studies, and advocates the re-establishment of theatrical activity within modernist historiography.

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Carl, P. "Curating a Theatrical Commons". Canadian Theatre Review 172 (październik 2017): 115–18. http://dx.doi.org/10.3138/ctr.172.024.

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Klens, Deborah S. "Theatrical Palimpsest: Tokyo 1992". TDR (1988-) 37, nr 3 (1993): 166. http://dx.doi.org/10.2307/1146315.

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