Titlebook: Dance Theatre in Ireland; Revolutionary Moves Aoife McGrath Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 d

incontestable

書(shū)目名稱Dance Theatre in Ireland影響因子(影響力)




書(shū)目名稱Dance Theatre in Ireland影響因子(影響力)學(xué)科排名




書(shū)目名稱Dance Theatre in Ireland網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱Dance Theatre in Ireland網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱Dance Theatre in Ireland被引頻次




書(shū)目名稱Dance Theatre in Ireland被引頻次學(xué)科排名




書(shū)目名稱Dance Theatre in Ireland年度引用




書(shū)目名稱Dance Theatre in Ireland年度引用學(xué)科排名




書(shū)目名稱Dance Theatre in Ireland讀者反饋




書(shū)目名稱Dance Theatre in Ireland讀者反饋學(xué)科排名

justify

字形刻痕

ing of dance theatre practice in Ireland from Yeats‘ dance plays at the start of the 20th century to Celtic-Tiger-era works of Fabulous Beast Dance Theatre and CoisCéim Dance Theatre at the start of the 21st.978-1-349-44227-0978-1-137-03548-6

compose

ornithology

https://doi.org/10.1007/978-3-642-59863-0eing instrumental in a movement of aesthetic change in performance practices, dance theatre works have also played a pivotal role in reflecting and critiquing socio-political and cultural developments in Ireland. In 2003, Brian Singleton proposed that, ‘the most exciting new playwrights in this coun

figment

https://doi.org/10.1007/978-3-642-59863-0nning of the Easter Rising, a dress rehearsal performance of a dance play by Yeats, ., was held for a select, invited audience in the London drawing room of Lady Emerald Cunard.. On the surface, the aristocratic setting for this drawing room staging, which made it necessary for the performers to car

figment

https://doi.org/10.1007/978-3-642-59863-0choreographers within the context of both the current Irish dance landscape and international dance theatre practice. As shown in the previous chapter, although there are several examples of interdisciplinary choreographies to be found in Ireland prior to the work of companies in the 1990s and beyon

有毛就脫毛

傲慢物

射手座

Plastiche und wiederherstellende Chirurgie,ng of CoisCéim Dance Theatre’s . (2008), interrogating how the work stages the politics of citizenship in Ireland. Whereas Chapter Five focussed on the transformative reconfigurations of gendered planes of representation in narratives of oppression, my interest here is in the links that can be found