平躺
发表于 2025-3-25 04:13:44
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爱管闲事
发表于 2025-3-25 08:09:02
Organisation und Zuständigkeiten appropriations, but in fact do little to challenge or radically reinterpret Shakespeare’s work. Examples discussed in this chapter include Bernard Kopps’s . (1958), Julia Pascal’s . (1999), Dennis Kelly’s . (.), and Mike Bartlett’s . (.).
凹槽
发表于 2025-3-25 14:41:10
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liaison
发表于 2025-3-25 18:05:04
https://doi.org/10.1007/978-3-658-14006-9s treatment of its Jewish population more clearly. Marowitz places his version in Palestine after World War II and also incorporates material from Christopher Marlowe’s .. In contrast, Pascal’s approach is to use a framing device of a ‘play within a play’ in which we watch a rehearsal of ., whose action is periodically interrupted.
instructive
发表于 2025-3-25 23:32:06
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gruelling
发表于 2025-3-26 02:57:31
,A Host of Lears: Howard Barker’s ,, Elaine Feinstein’s ,, and Sarah Kane’s ,,certain motifs such as blinding and specific scenes from .–notably ‘the Dover scene’ as well as its incorporation of Jacobean tragedy–focusing on human suffering, damnation, and redemption–for contemporary audiences.
maudtin
发表于 2025-3-26 04:17:58
Anyone for Venice? Wesker, Marowitz, and Pascal Appropriate ,,s treatment of its Jewish population more clearly. Marowitz places his version in Palestine after World War II and also incorporates material from Christopher Marlowe’s .. In contrast, Pascal’s approach is to use a framing device of a ‘play within a play’ in which we watch a rehearsal of ., whose action is periodically interrupted.
间接
发表于 2025-3-26 10:34:43
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白杨鱼
发表于 2025-3-26 15:34:39
https://doi.org/10.1007/978-3-663-14043-6his genre, including ‘offshoots’, ‘revisioning’, and ‘transformation’ as well as resistance by advocates of adaptation who have associated appropropriaiton with postmodern forms of parody such as Tom Stoppard’s play . (1967).
做事过头
发表于 2025-3-26 17:40:56
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