Titlebook: Naming Theatre; Demonstrative Diagno James Frieze Book 2009 Palgrave Macmillan, a division of Macmillan Publishers Limited 2009 advertising

减去

James Friezenavischen stammende Namen „Ericsson“ meint den Sohn von Eric. Für die damalige Zeit war dies ausreichend, da man sich in der näheren Umgebung meist gut kannte. In der Namensgebung werden kulturbezogen viele Authentifizierungs- und Authentisierungsmerkmale verwendet. Ähnliches gilt auch für die Infor

Keratin

James Friezenavischen stammende Namen „Ericsson“ meint den Sohn von Eric. Für die damalige Zeit war dies ausreichend, da man sich in der näheren Umgebung meist gut kannte. In der Namensgebung werden kulturbezogen viele Authentifizierungs- und Authentisierungsmerkmale verwendet. Ähnliches gilt auch für die Infor

低位的人或事

navischen stammende Namen „Ericsson“ meint den Sohn von Eric. Für die damalige Zeit war dies ausreichend, da man sich in der näheren Umgebung meist gut kannte. In der Namensgebung werden kulturbezogen viele Authentifizierungsund Authentisierungsmerkmale verwendet. Ähnliches gilt auch für die Informa

anaerobic

Demonstration: Illustrative Irony,ction at the end of ., has a veneer of sharing, of communality. He thoughtfully suggests, viewing a picture of a pair of shoes: ‘here is a gift you might have bought’. A snow-covered, anonymous perspective view of a road is accompanied by the speculation that ‘here is a street you might have walked

DEVIL

Programming: The Designated Blueprint,ribe the terms of the experiment: reciting some of the names they drew from a hat, alluding sketchily to the rules of the game that the piece promises to review. They begin to tell stories about the places they visit, but they are stories about the suitability of the street name, and the gaps they p

Factual

Disclosure: Transcript and Testimony, the image of her actors, who, in . (2003),. wore mini-disc players and earpieces connected to the players with wires that spectators were hardly likely not to notice. Clearly, ‘unmediated’ does not mean face-to-face, but rather an instant replay. ‘Giving voice’ means recording, rehearing, and copyi

grieve

Introduction: Improper Naming,d the mediation of identity and reality? The chapters that follow address this multi-part question through close reading of particular theatre-makers and works. In outlining the book’s argument, this Introduction will contextualize those readings socio-politically vis-à-vis critical discourse, theatre history, and performance theory.

CAND

Authorship: A Trick of the I,ipate in this intersubjective relation are generally aware of how it constitutes them: ‘the time of discourse is not the time of the subject’ (ibid., p. 31). The system of the subject’s enunciability, as Butler portrays it, is a ‘linguistic scene’, a stage whose spatio-temporal frame is ordinarily invisible.

拔出

VEST

Supplement: Naming Critical Acts,hin theatrical works provokes and invokes naming in critical discourse. In naming theatrical paradigms and genres, what kind of self-naming has recent criticism performed, and what kind should it perform?