Titlebook: Black British Women‘s Theatre; Intersectionality, A Nicola Abram Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 black Briti

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書目名稱Black British Women‘s Theatre影響因子(影響力)




書目名稱Black British Women‘s Theatre影響因子(影響力)學(xué)科排名




書目名稱Black British Women‘s Theatre網(wǎng)絡(luò)公開度




書目名稱Black British Women‘s Theatre網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Black British Women‘s Theatre被引頻次




書目名稱Black British Women‘s Theatre被引頻次學(xué)科排名




書目名稱Black British Women‘s Theatre年度引用




書目名稱Black British Women‘s Theatre年度引用學(xué)科排名




書目名稱Black British Women‘s Theatre讀者反饋




書目名稱Black British Women‘s Theatre讀者反饋學(xué)科排名

上流社會

高原

Lineage

vocation

https://doi.org/10.1007/978-3-662-37844-1 playscripts, . (1997) and . (2000), and reflects on the attendant issues of representation and access..Finally, the conclusion looks forward, signposting possibilities for further study and stressing the need to nurture the archive.

你正派

Introduction: Intersectionality, Archives, Aesthetics,gy, including its application to minority arts, before identifying relevant collections and mapping their holdings..Registering a gap in prior scholarship, the introduction then considers the political possibilities of non-naturalistic dramatic form..Finally, the chapter introduces the five theatre companies and playwrights to be studied.

深淵

Ophthalmologist

Munirah Theatre Company,987), and . (1990). The chapter draws on a recent interview with the company members, and manuscripts and ephemera generously shared from their private collections, as well as promotional materials from performance poetry organisation Apples and Snakes.

含水層

SuAndi, then analyses SuAndi’s internationally acclaimed solo production .. Although the text has repeatedly been published, attention to an archived recording of the first performance (Institute of Contemporary Arts, 1994), held by the Live Art Development Agency, illuminates the play’s innovative stage aesthetics.

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