{"title":"Bess Rowen. The Lines Between the Lines: How Stage Directions Affect Embodiment","authors":"Kaitlyn Farrell Rodriguez","doi":"10.3138/md-66-1-rev4","DOIUrl":null,"url":null,"abstract":"The Lines Between the Lines presents stage directions as tools for centring historically marginalized voices; argues for a relationship between stage directions and emotional responses; and highlights the creative potential of affective stage directions, which allow production teams and readers to imagine new possibilities still substantiated by the source play.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"1 1","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"MODERN DRAMA","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3138/md-66-1-rev4","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 1
Abstract
The Lines Between the Lines presents stage directions as tools for centring historically marginalized voices; argues for a relationship between stage directions and emotional responses; and highlights the creative potential of affective stage directions, which allow production teams and readers to imagine new possibilities still substantiated by the source play.
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