標(biāo)題: Titlebook: Contemporary American Theatre; Bruce King (co-editor of the Modern Dramatists ser Book 1991 Palgrave Macmillan, a division of Macmillan Pu [打印本頁(yè)] 作者: 決絕 時(shí)間: 2025-3-21 19:34
書目名稱Contemporary American Theatre影響因子(影響力)
書目名稱Contemporary American Theatre影響因子(影響力)學(xué)科排名
書目名稱Contemporary American Theatre網(wǎng)絡(luò)公開度
書目名稱Contemporary American Theatre網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Contemporary American Theatre被引頻次
書目名稱Contemporary American Theatre被引頻次學(xué)科排名
書目名稱Contemporary American Theatre年度引用
書目名稱Contemporary American Theatre年度引用學(xué)科排名
書目名稱Contemporary American Theatre讀者反饋
書目名稱Contemporary American Theatre讀者反饋學(xué)科排名
作者: Irritate 時(shí)間: 2025-3-22 00:08
The Sound of a Voice: David Hwangtion and commercial success. With the successful London production of the play in 1989, this recognition has been replicated internationally. In an era in which the imaginative authority of drama has clearly waned (on Broadway in particular the playwright is an endangered species), Hwang’s artistic 作者: 積習(xí)難改 時(shí)間: 2025-3-22 03:20 作者: Accede 時(shí)間: 2025-3-22 07:36
Contemporary American Dance Theatre: Clarke, Goode and Manntary), character, expressive costumes, décor, lighting, music and language; in fact, they use whatever materials serve to express the feeling of living in their culture. Is it any wonder that much of their work expresses violence in one form or another?作者: 違反 時(shí)間: 2025-3-22 09:26
Bruce King (co-editor of the Modern Dramatists ser作者: SPECT 時(shí)間: 2025-3-22 13:35
https://doi.org/10.1007/978-3-663-04416-1tory informs us, however, despite the auspicious beginnings of . feminist political solidarity and artist accomplishment, not the least of which was Zona Gale’s 1921 Pulitzer for .,. the strong, articulate and united voice of American women dramatists did not endure and increase, but rather modulate作者: SPECT 時(shí)間: 2025-3-22 20:01
https://doi.org/10.1007/978-3-663-04418-5tion and commercial success. With the successful London production of the play in 1989, this recognition has been replicated internationally. In an era in which the imaginative authority of drama has clearly waned (on Broadway in particular the playwright is an endangered species), Hwang’s artistic 作者: 冷淡一切 時(shí)間: 2025-3-22 22:41
https://doi.org/10.1007/978-3-663-04421-5ty and vaudeville, often verging on revue and incorporating a range of performing specialities, with few serious musical demands being made on its popular stars. Even with the supposedly innovative Rodgers and Hammerstein musical .! (1943), hailed as a break with musical formulas of the past, howeve作者: 就職 時(shí)間: 2025-3-23 05:02 作者: 隱語(yǔ) 時(shí)間: 2025-3-23 08:48
Introductioneel it is already time for another examination of the directions drama and alternative forms of theatre have been taking in recent years. There is enough justification for a book in the increasing importance of Richard Nelson, Emily Mann, Christopher Durang, August Wilson, Stephen Sondheim, David He作者: Immunization 時(shí)間: 2025-3-23 09:57 作者: BLAND 時(shí)間: 2025-3-23 14:05 作者: 半圓鑿 時(shí)間: 2025-3-23 20:41
New Realism: Mamet, Mann and Nelsonation, the political crises of the early 1960s (Cuba, Berlin, Vietnam), and the success of European absurdist drama and experimental cinema, it called into question the principles that had dominated American realism: the predominance of linear form and the congruence of character to environment. The作者: 斷斷續(xù)續(xù) 時(shí)間: 2025-3-24 01:57 作者: 河流 時(shí)間: 2025-3-24 02:46
The Sound of a Voice: David Hwangdormitory. Within a year, the play, . (Fresh Off the Boat — an ironic acronym for recent immigrants) made a rapid journey from Stanford to the O’Neill Theatre Center in Connecticut to Joseph Papp’s Public Theatre in New York, and the fledgling playwright, a young Chinese-American, David Henry Hwang,作者: cumulative 時(shí)間: 2025-3-24 07:38 作者: 險(xiǎn)代理人 時(shí)間: 2025-3-24 14:30 作者: Apraxia 時(shí)間: 2025-3-24 17:11 作者: Meditate 時(shí)間: 2025-3-24 20:13 作者: 急急忙忙 時(shí)間: 2025-3-25 03:14 作者: CLASP 時(shí)間: 2025-3-25 04:37
Contemporary American Dance Theatre: Clarke, Goode and Manna new era of expressiveness. The works of Martha Clarke are important examples of this new expressionism. However, she is not alone in making dances comprised of emotionally expressive images rather than formal ideas. Images imbued with emotional content are also important in the works of Pina Bausc作者: Left-Atrium 時(shí)間: 2025-3-25 08:39 作者: 尊敬 時(shí)間: 2025-3-25 14:30 作者: Ceramic 時(shí)間: 2025-3-25 19:44 作者: MOAT 時(shí)間: 2025-3-25 22:54
From C-R to PR: Feminist Theatre in Americaer evey couple of seconds, and declare their love. Heidi, who is just visiting, remains critical, outside and unmoved, until she lets loose about an inattentive arrogant boyfriend. ‘I hope our daughters never feel like us,’ she concludes. ‘I hope our daughters feel so fucking worthwhile. Do you promise we can accomplish that much?’作者: 設(shè)想 時(shí)間: 2025-3-26 01:17 作者: 內(nèi)閣 時(shí)間: 2025-3-26 07:44 作者: forestry 時(shí)間: 2025-3-26 08:38
Elizabeth LeCompte and the Wooster Groupeth LeCompte, a permanent company of theatre artists create pieces that explore the realms of post-modern theatre: its aesthetics; deconstructive approaches to text; and relationships to post-modern American culture.作者: BUOY 時(shí)間: 2025-3-26 12:56
Performance Artist/Art Performer: Laurie Anderson, unmediated materials from their life and structure them to strike a balance between their own needs and those of the audience? For Anderson, the resolution is not only intellectual but technical. It is one that leads to a new performance style.作者: Lymphocyte 時(shí)間: 2025-3-26 16:48 作者: Aspirin 時(shí)間: 2025-3-27 00:55 作者: endoscopy 時(shí)間: 2025-3-27 03:36 作者: septicemia 時(shí)間: 2025-3-27 06:54 作者: intrude 時(shí)間: 2025-3-27 11:06
Die Aufgabe und Planung der Versuche,, unmediated materials from their life and structure them to strike a balance between their own needs and those of the audience? For Anderson, the resolution is not only intellectual but technical. It is one that leads to a new performance style.作者: Oration 時(shí)間: 2025-3-27 15:48 作者: AROMA 時(shí)間: 2025-3-27 19:27
Untersuchungen über Widerstandsrauschenlosure of the fourth wall and the relationship between self-enclosed stage space and consistent and explicable character concealed, or naturalised, the very psychological and social disjunctions that Miller’s drama sought to address.作者: Dealing 時(shí)間: 2025-3-27 23:59
https://doi.org/10.1007/978-3-663-04420-8y the American cubist Stuart Davis, who in 1950 proclaimed ‘I like popular art, topical ideas, and not high culture or modernistic formalism’ (Hughes, p. 330), art began its fascination with the surface texture of its culture, with popular signs, popular media and popular myths.作者: 有雜色 時(shí)間: 2025-3-28 04:05
New Realism: Mamet, Mann and Nelsonlosure of the fourth wall and the relationship between self-enclosed stage space and consistent and explicable character concealed, or naturalised, the very psychological and social disjunctions that Miller’s drama sought to address.作者: 假裝是我 時(shí)間: 2025-3-28 09:33 作者: 匍匐前進(jìn) 時(shí)間: 2025-3-28 14:30
,Bariumzinkkobaltphosphate Ba(Zn1?nConPO4)2,eel it is already time for another examination of the directions drama and alternative forms of theatre have been taking in recent years. There is enough justification for a book in the increasing importance of Richard Nelson, Emily Mann, Christopher Durang, August Wilson, Stephen Sondheim, David He作者: homeostasis 時(shí)間: 2025-3-28 18:40
https://doi.org/10.1007/978-3-663-04416-1 roughly coterminous with the first women’s movement, that a significant number of exceptional dramatists (such as Susan Glaspell, Rachel Crothers, and Sophie Treadwell) would emerge, write the first feminist plays, and vie for their share of both space and acclaim in the theatre arena.. This initia作者: expeditious 時(shí)間: 2025-3-28 22:20 作者: Ointment 時(shí)間: 2025-3-28 23:38 作者: Felicitous 時(shí)間: 2025-3-29 03:44
https://doi.org/10.1007/978-3-663-04418-5y drama, .. By the spring of 1988, there had been three Wilson plays on Broadway — . (1987) and . (1988) — and each had won the New York Drama Critics Prize for Best Play of the Year. . also took the Pulitzer Prize and the Tony, Drama Desk and Outer Critics Circle Award — the first work ever to win 作者: 怪物 時(shí)間: 2025-3-29 10:57 作者: 性學(xué)院 時(shí)間: 2025-3-29 13:37
https://doi.org/10.1007/978-3-663-04419-2ormer garage on Wooster Street, in what is usually referred to as the ‘SoHo’ district of New York City. There, under the artistic leadership of Elizabeth LeCompte, a permanent company of theatre artists create pieces that explore the realms of post-modern theatre: its aesthetics; deconstructive appr作者: Clinch 時(shí)間: 2025-3-29 16:44
https://doi.org/10.1007/978-3-663-04420-8e symbolist poets, flaunted in a radical theory of colour by the Fauves and in terms of cubist distortions by the German expressionists, squeezed into a Freudian paradigm by Andre Breton and the surrealists to give shape to Dada’s nihilism, plunged into its pre-ideational realm, into its inchoate, u作者: 神圣在玷污 時(shí)間: 2025-3-29 23:16
https://doi.org/10.1007/978-3-663-04421-5the nation’s distinctive contribution to dramatic art, until the offensive, racist nature of such entertainments became a major embarrassment. The laurels for innovation then passed to the American musical, specifically as produced on Broadway, the most demanding critical and popular commercial aren作者: originality 時(shí)間: 2025-3-30 00:38
https://doi.org/10.1007/978-3-663-04421-5r’s purse. A woman talks about menstrual blood as she pours kidney beans over her forearm. An understated man seated at a table reads a clipping about a woman who saw the face of Christ in a tortilla. A bald-headed woman in her sixties describes the human brain while chopping a cauliflower with a sh作者: 啟發(fā) 時(shí)間: 2025-3-30 07:15 作者: 紡織品 時(shí)間: 2025-3-30 10:46 作者: canvass 時(shí)間: 2025-3-30 14:42 作者: 大罵 時(shí)間: 2025-3-30 20:09
https://doi.org/10.1007/978-3-663-04423-9riting. Influenced by the non-textual theatrical creations of the last twenty-five years, their work displays an aversion to traditional dramatic form, particularly as it has congealed into the predominantly literary modes of American realism. Post-literary writing for the theatre employs a hybrid d作者: ethnology 時(shí)間: 2025-3-30 21:27
https://doi.org/10.1007/978-1-349-21582-9America; history of literature; literature; theatre; theatre and performance studies; twentieth century作者: contrast-medium 時(shí)間: 2025-3-31 04:04 作者: 終點(diǎn) 時(shí)間: 2025-3-31 06:43
https://doi.org/10.1007/978-3-663-04423-9Peter Sellars is a pivotal figure in contemporary theatre. His work is both a product of twentieth-century avant-garde theatre and a departure from it, overleaping the high-tech obsessions of his immediate predecessors for a more classical vision of theatre.
