標(biāo)題: Titlebook: Black British Women‘s Theatre; Intersectionality, A Nicola Abram Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 black Briti [打印本頁(yè)] 作者: 方面 時(shí)間: 2025-3-21 20:00
書目名稱Black British Women‘s Theatre影響因子(影響力)
書目名稱Black British Women‘s Theatre影響因子(影響力)學(xué)科排名
書目名稱Black British Women‘s Theatre網(wǎng)絡(luò)公開度
書目名稱Black British Women‘s Theatre網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Black British Women‘s Theatre被引頻次
書目名稱Black British Women‘s Theatre被引頻次學(xué)科排名
書目名稱Black British Women‘s Theatre年度引用
書目名稱Black British Women‘s Theatre年度引用學(xué)科排名
書目名稱Black British Women‘s Theatre讀者反饋
書目名稱Black British Women‘s Theatre讀者反饋學(xué)科排名
作者: 上流社會(huì) 時(shí)間: 2025-3-21 21:17 作者: 高原 時(shí)間: 2025-3-22 04:04 作者: Lineage 時(shí)間: 2025-3-22 05:38 作者: vocation 時(shí)間: 2025-3-22 12:41
https://doi.org/10.1007/978-3-662-37844-1 playscripts, . (1997) and . (2000), and reflects on the attendant issues of representation and access..Finally, the conclusion looks forward, signposting possibilities for further study and stressing the need to nurture the archive.作者: 你正派 時(shí)間: 2025-3-22 13:22
Introduction: Intersectionality, Archives, Aesthetics,gy, including its application to minority arts, before identifying relevant collections and mapping their holdings..Registering a gap in prior scholarship, the introduction then considers the political possibilities of non-naturalistic dramatic form..Finally, the chapter introduces the five theatre companies and playwrights to be studied.作者: 深淵 時(shí)間: 2025-3-22 18:18 作者: Ophthalmologist 時(shí)間: 2025-3-22 23:12
Munirah Theatre Company,987), and . (1990). The chapter draws on a recent interview with the company members, and manuscripts and ephemera generously shared from their private collections, as well as promotional materials from performance poetry organisation Apples and Snakes.作者: 含水層 時(shí)間: 2025-3-23 04:00
SuAndi, then analyses SuAndi’s internationally acclaimed solo production .. Although the text has repeatedly been published, attention to an archived recording of the first performance (Institute of Contemporary Arts, 1994), held by the Live Art Development Agency, illuminates the play’s innovative stage aesthetics.作者: 牽連 時(shí)間: 2025-3-23 08:01 作者: 高談闊論 時(shí)間: 2025-3-23 11:23
Zindika,e Forum, and Adzido Pan-African Dance Ensemble..This chapter analyses Zindika’s two unpublished plays, . (1989) and . (1996), paying particular attention to the anti-essentialist effects of the non-naturalistic technique of cast doubling.作者: IRS 時(shí)間: 2025-3-23 17:35 作者: Defraud 時(shí)間: 2025-3-23 19:20 作者: 啟發(fā) 時(shí)間: 2025-3-24 01:49
,Black Mime Theatre: The Women’s Troop,any’s administrative records and funders’ files, as well as an interview with BMT’s Artistic Director, Denise Wong. Production recordings and archival photographs enable the analysis of two plays produced during the years in which the company operated as a dedicated women’s troupe: . (1991) and . (1992).作者: analogous 時(shí)間: 2025-3-24 03:40
Dynamik der ebenen Bewegung des K?rperse Forum, and Adzido Pan-African Dance Ensemble..This chapter analyses Zindika’s two unpublished plays, . (1989) and . (1996), paying particular attention to the anti-essentialist effects of the non-naturalistic technique of cast doubling.作者: cogitate 時(shí)間: 2025-3-24 08:35 作者: MILK 時(shí)間: 2025-3-24 12:05
Introduction: Intersectionality, Archives, Aesthetics,e of the intersectional identity (‘black woman’), material histories, and creative practices that constitute the book’s subject and scope..The titular terms ‘intersectionality’, ‘a(chǎn)rchives’, and ‘a(chǎn)esthetics’ are then articulated more fully..The concept of ‘intersectionality’—the confluence of racism 作者: fertilizer 時(shí)間: 2025-3-24 18:14
Theatre of Black Women,aristo and Patricia Hilaire from their teenage participation in drama groups through their studies at Rose Bruford College to touring their work internationally, funded by Greater London Council, Greater London Arts Association, Gulbenkian Foundation, and Arts Council England. It positions TBW withi作者: 手榴彈 時(shí)間: 2025-3-24 21:20 作者: Ingratiate 時(shí)間: 2025-3-25 03:06
,Black Mime Theatre: The Women’s Troop,first black mime company, Black Mime Theatre (BMT), from its inception in 1984 through to its dissolution in 1998. The chapter is informed by the company’s administrative records and funders’ files, as well as an interview with BMT’s Artistic Director, Denise Wong. Production recordings and archival作者: Decongestant 時(shí)間: 2025-3-25 04:50 作者: dialect 時(shí)間: 2025-3-25 08:59
SuAndi,o material from The Live Art Archives (University of Bristol Theatre Collection) and the Black Archive and Collection (University of Central Lancashire), as well as a personal interview. SuAndi’s biography intersects with the histories of various northern England arts collectives, such as Black Arts作者: oblique 時(shí)間: 2025-3-25 13:20 作者: Hemiplegia 時(shí)間: 2025-3-25 18:20
Zentrale Kraftsysteme in der Ebenee of the intersectional identity (‘black woman’), material histories, and creative practices that constitute the book’s subject and scope..The titular terms ‘intersectionality’, ‘a(chǎn)rchives’, and ‘a(chǎn)esthetics’ are then articulated more fully..The concept of ‘intersectionality’—the confluence of racism 作者: 泥土謙卑 時(shí)間: 2025-3-25 23:52 作者: 寬敞 時(shí)間: 2025-3-26 02:44
,Tr?ger auf nachgiebiger Bettung,chelle Matherson, Sherma Springer, A-dZiko Simba, Hazel Williams, and administrator Marjorie James. In the process of telling their story, this chapter also remembers the lively wider networks of Black arts in twentieth-century Britain, including the Organisation for Black Art Advancement and Leisur作者: hidebound 時(shí)間: 2025-3-26 04:37
https://doi.org/10.1007/978-3-662-25421-9first black mime company, Black Mime Theatre (BMT), from its inception in 1984 through to its dissolution in 1998. The chapter is informed by the company’s administrative records and funders’ files, as well as an interview with BMT’s Artistic Director, Denise Wong. Production recordings and archival作者: 慢跑鞋 時(shí)間: 2025-3-26 12:20
Dynamik der ebenen Bewegung des K?rpersand the Women’s Theatre Collection (University of Bristol), as well as a personal interview. Zindika’s biography connects with a wider history of 1990s black British creativity and activism, featuring Peckham Black Women’s Group, writers’ collective Nka Iban, Black Theatre Co-operative, Black Theatr作者: 揭穿真相 時(shí)間: 2025-3-26 12:57 作者: Buttress 時(shí)間: 2025-3-26 18:20
https://doi.org/10.1007/978-3-662-37844-1s theatre through the 1980s and 1990s, before turning its attention to the twenty-first century, where it celebrates the increased publication and staging of non-naturalistic drama..The central section focuses on popular contemporary playwright debbie tucker green, mapping her relationship with the 作者: Encoding 時(shí)間: 2025-3-26 21:09 作者: ungainly 時(shí)間: 2025-3-27 03:13
http://image.papertrans.cn/b/image/188927.jpg作者: Etymology 時(shí)間: 2025-3-27 08:58 作者: Feckless 時(shí)間: 2025-3-27 10:13
978-3-030-51461-7The Editor(s) (if applicable) and The Author(s) 2020作者: 使顯得不重要 時(shí)間: 2025-3-27 14:44 作者: 人類的發(fā)源 時(shí)間: 2025-3-27 17:48 作者: 能量守恒 時(shí)間: 2025-3-28 01:29
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10樓作者: 本土 時(shí)間: 2025-3-28 14:17
10樓
