从未沮丧 发表于 2025-3-21 18:29:04

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Alpha-Cells 发表于 2025-3-21 20:57:48

https://doi.org/10.1007/978-3-030-51015-2upils from four local schools, and the Departments of Drama and Theatre Studies and Electronics at the University of Kent. This was a C&T-style Living Newspaper project (the company trained the university students during a residency), focusing on the 1942 Canterbury Blitz.

Condyle 发表于 2025-3-22 03:40:27

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Yag-Capsulotomy 发表于 2025-3-22 05:23:16

Setting the Scene: Critical and Theoretical Contextsand places, distance no longer matters in the context of Skype, while the past is being returned to the present through new technologies for recovering, preserving and documenting. We seek to possess the past through a commodification of history. Family archives become part of our material identitie

GUEER 发表于 2025-3-22 11:24:35

Pasts, Pioneers, Politics, engaging its publics through social and collaborative modes which repositioned art as ‘work’ (rather then contemplative leisure), orientated towards political change and, at its most extreme, revolution. Although the historical avant-garde, the neo avant-garde and applied theatre and performance m

切割 发表于 2025-3-22 15:08:47

Performing Lives range of performance artists use autobiographical material in their work, finding an appropriate form for personal content: Laurie Anderson, Annie Sprinkle, Holly Hughes, Rachel Rosenthal, Lenora Champagne, Peggy Shaw and Lois Weaver, to name but a few. In the United Kingdom, similarly, performers

figure 发表于 2025-3-22 17:32:30

Digital Transportationsis fieldwork: ‘the Internet access was of little use because it seldom functioned. No special educational programs had been made available, and no special content was provided in Hindi, the only language the children knew’ (Warschauer, 2003). Some parents expressed concern about the new technology d

monopoly 发表于 2025-3-23 00:01:43

Participatory (Syn)Aestheticsical analysis’ its inarticulacy being ‘due to the fact that the act of immediate perception is primarily located in the body’ (2009: 2). This ‘(syn)aesthetic style she associates with productions such as Theatre de Complicite’s . (1992), De la Guarda’s form of ‘shock’ theatre in pieces such as . (19

spondylosis 发表于 2025-3-23 01:24:24

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直觉没有 发表于 2025-3-23 06:47:50

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查看完整版本: Titlebook: Applying Performance; Live Art, Socially E Nicola Shaughnessy Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012