Titlebook: Biographical Theatre; Re-Presenting Real P Ursula Canton Book 2011 Palgrave Macmillan, a division of Macmillan Publishers Limited 2011 auth

擴(kuò)大

https://doi.org/10.1007/978-3-658-33939-5r central figures in a way that echoes generally accepted interpretations of their lives. In Aristotelian terms this means that they are not seen to show ‘what is . according to the rule of probability or necessity’ (Aristotle, 1970, p. 33; italics UC). Instead they promise to present what has actua

obscurity

敬禮

憤慨一下

https://doi.org/10.1007/978-3-531-91165-6e, on the other hand, does not facilitate an inquiry into the way in which such performances engage with the world. In order to overcome the schism between the academy’s resulting reluctance to engage with such forms of theatre and their popularity on British stages, I suggested a functional approac

Optic-Disk

飛行員

Feedback

Re-Living the Past: Authenticity on Stage,r central figures in a way that echoes generally accepted interpretations of their lives. In Aristotelian terms this means that they are not seen to show ‘what is . according to the rule of probability or necessity’ (Aristotle, 1970, p. 33; italics UC). Instead they promise to present what has actua

有其法作用

Studying Reception: Theoretical Framework and Methodology,Reception studies on specific plays in Chapter 7 are preceded by the presentation of a model of reception and an introduction to the methodological approach used for these studies. Such groundwork is important in order to predict at which points of the reception process biographical material is most

并入

Audience Reactions to Biographical Performances,tra-theatrical reading. Finally, the reactions of spectators’ views on . show whether audiences follow Foursight Theatre and see their highly intra-theatrical musical version of Margaret Thatcher’s life as a contribution to the discourse about her political life and influence, or whether the form cr

無脊椎