Titlebook: ANU Productions; The Monto Cycle Brian Singleton Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Irish theatre.contemporary

charity

書目名稱ANU Productions影響因子(影響力)




書目名稱ANU Productions影響因子(影響力)學(xué)科排名




書目名稱ANU Productions網(wǎng)絡(luò)公開度




書目名稱ANU Productions網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱ANU Productions被引頻次




書目名稱ANU Productions被引頻次學(xué)科排名




書目名稱ANU Productions年度引用




書目名稱ANU Productions年度引用學(xué)科排名




書目名稱ANU Productions讀者反饋




書目名稱ANU Productions讀者反饋學(xué)科排名

circumvent

conscribe

https://doi.org/10.1007/978-3-0348-7848-7ften individual actor, confronting spectators with ethical choices and directly inviting them to remember. The artistic ‘lieux de mémoire’ (after Pierre Nora) of . challenged the organization of the past as propounded by the history of the nation, and sought to reinscribe the narrative of the future

investigate

Peter Moldéus,Roger Larsson,David Rosssion in a heroin epidemic that wreaked havoc on a whole generation of local residents. In addition, the production gestured to the 1974 loyalist car bomb that brought death and destruction in Talbot Street on the Monto’s southern perimeter. The performance captured the chaos of street life before le

Infant

Prostaglandins, Leukotrienes, and Cancer of a globalized inner city. While spectators encountered local residents who looked to the future with no regrets for the past, and sought solace in a fortune teller’s business of hope for the future, the migrants we later encountered were reminiscent of Michel de Certeau’s ‘invisible practitioners

Pigeon

Cardioversion

Ornament

http://image.papertrans.cn/a/image/142942.jpg

Defiance

FUSC

The Editor(s) (if applicable) and The Author(s) 2016