Titlebook: Humanism, Drama, and Performance; Unwriting Theatre Hana Worthen Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Theatre.Hum

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Radiculopathy

ng work, along a privileged dualism from the aestheticized .ensemble.—harmonizing actor, character, and spectator to the essentialized drama—to the politicized .assembly,. theatre understood as an agonistic gathering.? ?.?.978-3-030-44068-8978-3-030-44066-4

Somber

Potential und M?glichkeiten von Wasserstoffrformance is at once the consequence and final cause of poetic composition. Seizing theatre as an instrument of writing occupies theatre and performance studies reflected here within two key perspectives: Oscar G. Brockett’s account of the relationship between dramatic maturity and the fashioning of

教義

Carl-Jochen Winter,Joachim Nitsche executed by wild beasts in the Roman arena. Spectacularizing a legal punishment through the form of drama and deploying performance to require, to engage, and to shape the contours of a civic audience, these . contest a set of humanist biases—the segregation of the mise-en-page from the mise-en-sc

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Sicherheitsrelevante Anwendung,heatre. At the same time, retooling . epic theatricality without assimilating it into the formal proprieties of dramatic humanism has proven challenging. Reconsidering Brecht’s epic-dialectical theatre, this chapter considers the controversy emerging when Tonya Pinkins, an African American actress i

背信

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AXIS

Introduction: Unwriting Theatre,rformance is at once the consequence and final cause of poetic composition. Seizing theatre as an instrument of writing occupies theatre and performance studies reflected here within two key perspectives: Oscar G. Brockett’s account of the relationship between dramatic maturity and the fashioning of