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Titlebook: American Drama; Clive Bloom Book 1995 Lumiere Co-operative Press Ltd 1995 America.Arthur Miller.history of literature

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發(fā)表于 2025-3-21 16:40:01 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
期刊全稱(chēng)American Drama
影響因子2023Clive Bloom
視頻videohttp://file.papertrans.cn/155/154494/154494.mp4
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圖書(shū)封面Titlebook: American Drama;  Clive Bloom Book 1995 Lumiere Co-operative Press Ltd 1995 America.Arthur Miller.history of literature
影響因子An introduction to American drama, aimed at students, academics and serious readers, which is also concerned that the unfamiliar names and forgotten voices of those who made a major contribution to its history, have been unfairly neglected.
Pindex Book 1995
The information of publication is updating

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板凳
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,Eugene O’Neill,s a tight enclosure, the home of the lower-deck seamen — lower-class or unclassed, de-nationed men existing in a floating, mobile pseudo-home among basic objects: bunks, a lamp, oilskins, seaboots. Movement in enclosure during a voyage or journey, but a stasis of lives — in fact, a sense of enclosure that edges into a trap.
地板
發(fā)表于 2025-3-22 07:44:50 | 只看該作者
David Mamet,escribing the playwright’s own dramatic theory, and then discussing the technique of audience participation in Shakespeare’s problem plays as a possible influence on Mamet’s ideas.. The chapter concludes by applying the theoretical approach developed to two particular moments in . and ..
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Ordnung: Lichenes byssacei Kbr.past, to enact a dialogue between generations. In each sense, a need to revisit the past, in all its fictionalised forms, seems to be an imperative for the Jewish artist in America. In Loren Baritz’s view it is that characteristic that serves to distinguish the Jewish artist in America from his counterpart:
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Zusammenfassung und Diskussion,l the feminist movement of the late 1960s there had never been a theatre movement that specifically expressed material existence as women experienced it. This radically challenged the structure and substance of theatre and created new theatrical and theoretical work.
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