Titlebook: Jean Genet: Performance and Politics; Clare Finburgh (Lecturer in Modern Drama),Carl Lav Book 2006 Palgrave Macmillan, a division of Macmi

关税

书目名称Jean Genet: Performance and Politics影响因子(影响力)




书目名称Jean Genet: Performance and Politics影响因子(影响力)学科排名




书目名称Jean Genet: Performance and Politics网络公开度




书目名称Jean Genet: Performance and Politics网络公开度学科排名




书目名称Jean Genet: Performance and Politics被引频次




书目名称Jean Genet: Performance and Politics被引频次学科排名




书目名称Jean Genet: Performance and Politics年度引用




书目名称Jean Genet: Performance and Politics年度引用学科排名




书目名称Jean Genet: Performance and Politics读者反馈




书目名称Jean Genet: Performance and Politics读者反馈学科排名

capsule

Genet’s , as Media Allegory. While . is not a political play in any simple sense, as Genet himself stressed in numerous comments, to divorce it from the specific context in which it was created and first performed obscures Genet’s particular notion of the political, and his unique conception of ‘political’ theatre.

AVID

Reading , through the 1956 Preface: Politics and Betrayal [T]o process [Genet’s] radical insights into our own practice today … we have to find the courage to betray him imaginatively, not to disprove his politics and reject its anarchist affinities, but rather to test these affinities within the interruptions of the ‘real’ in the global terror of our tim

accrete

Theatre in a Graveyard: Site-based Performance and the Revolution of Everyday Lifea revolution which strives to liberate the subject spatially and temporally by replacing Thanatos (the death drive) with Eros (the life force). I do this by concentrating on ‘That Strange Word …’, a theoretical essay in which Genet sketches out his plans for a site-based production for his last play

lethargy

Dancing the Impossible: Kazuo Ohno, Lindsay Kemp and ,g queen tragedian. Just as Genet’s Divine moves between ‘he’ and ‘she’ in ., so Kemp and Ohno redeploy masculinity and femininity in their dances, presenting an androgynous subject who refuses stable gender identities..

巨大没有

entice

, Genet and Spainf the production, the means to liberate all the other actors, unique among performers in ‘playing with her whole body, with her whole voice. She squats like an Arab woman, contorts like a gypsy woman, barks like a dog’ (1966, p. 38).

薄荷醇

人类

LIKEN

e are unable to find a metrology for prescriptive decision paradigms. As a result, we developed a metrology and measurement instrument. To our knowledge . We invite scholars to research this subject and add to the body of knowledge of metrology in the praxis of decision theory.