Titlebook: Stage Right; John Bull Textbook 1994Latest edition Macmillan Publishers Limited 1994 dramatist.stage.theatre

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书目名称Stage Right影响因子(影响力)




书目名称Stage Right影响因子(影响力)学科排名




书目名称Stage Right网络公开度




书目名称Stage Right网络公开度学科排名




书目名称Stage Right被引频次




书目名称Stage Right被引频次学科排名




书目名称Stage Right年度引用




书目名称Stage Right年度引用学科排名




书目名称Stage Right读者反馈




书目名称Stage Right读者反馈学科排名

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The Gamblers’ Den and the British theatre is no exception. The roots of the theatrical crisis and the direct cause of its continuing malaise must be seen as a direct result of wider government monetarist policy, as must the particular ways in which it has developed.

left-ventricle

Michael Frayn: Dust and Scaffolding in a mainstream comic tradition. Included, amongst others, is the end of the first scene of Hampton’s ., and the moment when the child unexpectedly gets out of her wheelchair in Nichols’ .. ‘If I had sat in a box at the “Norman Conquests” or “Absurd Person Singular” I should certainly have fallen out of it.’

Immunoglobulin

Enter the Smooth Menurd, the names of both Beckett and Ionesco being frequently invoked. . commented on May 21, ‘This essay in surrealistic drama … gives the impression of deriving from an Ionesco play which Mr Ionesco has not yet written’.

ovation

Omniscient

柔软

Malcontent

The Gamblers’ Denled by that of the very coming to power of the Labour Party in 1945. Indeed, this comparison is particularly apt, for in both instances the assumption of power was accompanied by a conscious intent of change that would challenge the otherwise largely consensual nature of post-war government. In many

IOTA

Private Rooms and Public Spacesl edge to it.. It was provoked by the emergence of a considerable wealth of new writing talent certainly, but the rush to acknowledge this new talent served to underline the general sense of malaise that permeated the British theatre. Whilst there was no general agreement on the import or significan

Congruous

Enter the Smooth Men week with total box office receipts of just over £250. The lack of public interest was paralleled by the press reactions to the piece, at best baffled and more usually hostile. However, what critical attention the play did receive placed it firmly within an English version of the Theatre of the Abs