Titlebook: War and Theatrical Innovation; Victor Emeljanow Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Political propaganda.Milita

Definitive

The Greek Tragic Chorus and Its Training for War: Movement, Music and Harmony in Theatrical and Milif ancient Greek choral and military training as a continuation of primary education. As such, choral and military performance contributed to inculcating Athenian cultural knowledge. It will be shown that the training in song and dance for tragic choruses sought to prepare young Athenians for much mo

低位的人或事

Cultural Camouflage: Acting Identities in World War 2 Espionageic to one training base, known as a finishing school, was the production of cover stories and false identities. In this location actors were brought in to help agents with cultural camouflage, the event of assuming and enacting a new cultural identity. Accompanying this instruction were a set of man

流浪者

The Scenographer as Camoufleurocus on the activities by the Allied Forces. It draws on military sources as well as the personal accounts and memoirs of theatre designers and art directors engaged in camouflage units, to demonstrate how the military stratagem of “play-acting” would have been impossible to realize without the stag

犬儒主義者

Puppetry and the Spanish Civil Warf community. In the wake of the nineteenth-century rise in popularity of the puppet as newsreader, political commentator and satirist, puppets were seen as players within the artistic articulation of national and local identity. In Spain, and in particular in Catalonia, during the early years of the

Odyssey

ENNUI

Accord

The Biopolitics of ISIS’ Iconoclastic Propagandapolitical tropes, within ISIS’ propaganda, lie on the unstable threshold between . and . and the iconoclastic use of both. In agreement with Agamben’s claim that . is always caught in a state of indistinction, such an indistinction could easily be envisioned as residing in-between what performance s

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Cultural Camouflage: Acting Identities in World War 2 Espionageic to one training base, known as a finishing school, was the production of cover stories and false identities. In this location actors were brought in to help agents with cultural camouflage, the event of assuming and enacting a new cultural identity. Accompanying this instruction were a set of man

擴(kuò)張

Guns, Money and the Muse: New Patronage in the Russian Civil War, 1919–1922orld War 1 forced artistic mobility, creating new networks between East and West and producing aesthetic flourishing on the southwest borderlands of the former Russian empire. More consequential, however, were the frontline encounters between the Red Army and formerly imperial artists. These unexpec

砍伐