Titlebook: Rogue Performances; Staging the Undercla Peter P. Reed Book 2009 Peter P. Reed 2009 America.Caribbean.culture.drama.imagination.opera.perfo

法庭

书目名称Rogue Performances影响因子(影响力)




书目名称Rogue Performances影响因子(影响力)学科排名




书目名称Rogue Performances网络公开度




书目名称Rogue Performances网络公开度学科排名




书目名称Rogue Performances被引频次




书目名称Rogue Performances被引频次学科排名




书目名称Rogue Performances年度引用




书目名称Rogue Performances年度引用学科排名




书目名称Rogue Performances读者反馈




书目名称Rogue Performances读者反馈学科排名

MAPLE

Palgrave Studies in Theatre and Performance Historyhttp://image.papertrans.cn/r/image/831480.jpg

Cerumen

Emg827

Atlantic Underclasses and Early American Theatre Culture,ng circumatlantic routes of forced labor and inter-imperial conflict. Responding to her pleas, onlookers freed the actress and returned her to the care of an aunt more sympathetic to the stage. Ann Brown returned to act at Covent Garden during the 1776–77 season; this scene, however, is only the ope

引水渠

Gallows Performance, Excarceration, and ,rmance of a hanging. The execution itself presented scripted, conventionalized acts calculated to draw a crowd of spectators. Those performances started before Ames’s September 7, 1773, trial, with the confessions, evidence, and juridical proceedings included in some of the accounts. His September 1

遍及

Treason and Popular Patriotism in ,xed early national allegiances and identity, a troubled and troubling drama. Appearing at New York City’s Park Theatre a total of three times, the tragedy made an increasingly bad showing night by night.. ., in contrast, earned $1,287 in its opening night, almost as much as . brought in through its

躲债

Pantomime and Blackface Banditry in ,liday pantomime that dominated the stage at the end of the eighteenth century, the play billed itself as a “seriopantomime.” Although the form mutes him, Jack’s banditry remained the center of the plot. Jack’s offstage presence tensions the first act as the English captain Orford arrives in Jamaica

序曲

Epilogue: Escape Artists and Spectatorial Mobs,lurking in the popular Atlantic memory. . unabashedly celebrates the excarceration that . offers in stylized form. Instead of stylized escape, . displays literal escapes. However, unlike Macheath, Jack dies on the gallows at play’s end. As Odell writes, the thief enjoyed “all the rope he needed” at

Free-Radical

DENT