高谈阔论
发表于 2025-3-23 11:23:28
Zindika,e Forum, and Adzido Pan-African Dance Ensemble..This chapter analyses Zindika’s two unpublished plays, .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.
IRS
发表于 2025-3-23 17:35:18
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Defraud
发表于 2025-3-23 19:20:11
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启发
发表于 2025-3-24 01:49:08
,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).
analogous
发表于 2025-3-24 03:40:47
Dynamik der ebenen Bewegung des Körperse Forum, and Adzido Pan-African Dance Ensemble..This chapter analyses Zindika’s two unpublished plays, .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.
cogitate
发表于 2025-3-24 08:35:44
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MILK
发表于 2025-3-24 12:05:19
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’, ‘archives’, and ‘aesthetics’ are then articulated more fully..The concept of ‘intersectionality’—the confluence of racism
fertilizer
发表于 2025-3-24 18:14:21
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
手榴弹
发表于 2025-3-24 21:20:15
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Ingratiate
发表于 2025-3-25 03:06:29
,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