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Titlebook: Anti-War Theatre After Brecht; Dialectical Aestheti Lara Stevens Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Bertolt Bre

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发表于 2025-3-21 17:32:58 | 显示全部楼层 |阅读模式
期刊全称Anti-War Theatre After Brecht
期刊简称Dialectical Aestheti
影响因子2023Lara Stevens
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图书封面Titlebook: Anti-War Theatre After Brecht; Dialectical Aestheti Lara Stevens Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Bertolt Bre
影响因子.Examining the ways in which contemporary Western theatre protests against the ‘War on Terror’, this book analyses six twenty-first century plays that respond to the post-9/11 military operations in Afghanistan, Iraq and Palestine. The plays are written by some of the most significant writers of this century and the last including Elfriede Jelinek, Caryl Churchill, .Hélène Cixous. and Tony Kushner...Anti-war Theatre After Brecht. grapples with the problem of how to make theatre that protests the policies of democratically elected Western governments in a post-Marxist era. It shows how the Internet has become a key tool for disseminating anti-war play texts and how online social media forums are changing traditional dramatic aesthetics and broadening opportunities for spectator access, engagement and interaction with a work and the political alternatives it puts forward. .
Pindex Book 2016
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发表于 2025-3-21 20:28:47 | 显示全部楼层
Einführung in die Mikrocomputertechnik of 9/11. The plays I examine are written and devised in precarious times—in times of violent conflict in the Middle East, what President George W. Bush called the ‘War on Terror’, as well as the escalating conditions of the Global Financial Crisis, new revolutionary landscapes in the Middle East an
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Aufbau von Mikrocomputersystemen,nti-war protests in history, these rallies clearly demonstrated a global lack of popular support for the Iraq War on an unprecedented scale. Yet, unlike the 1963 March on Washington for Jobs and Freedom, the governments of the American-led ‘Coalition of the Willing’ ignored the performing bodies of
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Zeichnen und Messen der Objekte,e to the AIDS epidemic in the 1980s as a literal and metaphoric exposition of the corruption within the American legal and political system. The work moves between long, didactic political arguments between characters on the state of the American legal and political system to fantastical scenes in w
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,Fixieren und Härten der Objekte,mpany’s inception in 1964. Since then, the Théâtre du Soleil have collectively devised works that respond to national and international political issues by developing aesthetics that draw upon a range of European and Asian performance traditions. In the post-9/11 period, the company turned their foc
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