Titlebook: Get Real; Documentary Theatre Alison Forsyth (Lecturer in Theatre Studies),Chris Book 2009 Palgrave Macmillan, a division of Macmillan Pub

morphology

书目名称Get Real影响因子(影响力)




书目名称Get Real影响因子(影响力)学科排名




书目名称Get Real网络公开度




书目名称Get Real网络公开度学科排名




书目名称Get Real被引频次




书目名称Get Real被引频次学科排名




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书目名称Get Real年度引用学科排名




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书目名称Get Real读者反馈学科排名

Restenosis

Cumbersome

,History in the Driving Seat: Unity Theatre and the Embrace of the ‘Real’,r group mounted in its own theatre more than 250 productions, over half of which were new plays (many specially written for Unity) and a third of which contained original music.’ Holding this variety together was a political and aesthetic embrace of the ‘real’, driven by history and by Unity’s ideol

GREEN

The Documentary Body: Theatre Workshop to Banner Theatre,the disciplinarity of theatre craft. The performance is almost lacking in affect. Banner Theatre consists of (tonight) three musicians who play a song cycle in dialogue with digital projections of actuality: testimonial interviews and filmscapes. They call their performances ‘video ballads’, gesturi

青少年

Arthritis

,Looking for Esrafil: Witnessing ‘Refugitive’ Bodies in ,,2006, p. 5). All are said to have met their deaths either in the UK or attempting to reach the UK, 57 of them at their own hand. It is thought that approximately nine asylum seekers have died as a result of setting fire to themselves, and this number includes the Iranian Esrafil Tajaroghi who set fi

Arthritis

,Remembering the Past, ‘Growing Ourselves a Future’: Community-Based Documentary Theatre in the EastStanford University’s home of Palo Alto, was named the murder capital of the US. In response, East Palo Alto community leaders and city officials, along with scholar/activists on the neighbouring Stanford University campus, proposed a unique community reaction. From 1992 to 1996 they developed the E

Console

Influx

Performing Trauma: Race Riots and Beyond in the Work of Anna Deavere Smith,best known works in the genre by over 15 years? Not necessarily. Although Smith’s . (1992, first directed by Emily Mann) and . (1993, first directed by Christopher Ashley) are early examples of theatrically documenting the ‘real’ behind two quite distinct examples of urban trauma, events have unfort

AVERT

History, Memory and Trauma in the Documentary Plays of Emily Mann,. Nonetheless, traumatic suffering, particularly when associated with cataclysmic world events, political ideology, and/or institutionalised oppression, is characteristically processed through an assortment of memorative activities and occasions frequently in conflict or contradiction: autobiographi