Pub Date : 2023-05-01DOI: 10.1017/S0040557423000145
Isabel Stowell-Kaplan
In 1901, the popular American actor and playwright, William Gillette, arrived in the United Kingdom to tour his new play, Sherlock Holmes. Born in Connecticut in 1853, Gillette was by this time a well-established actor and playwright in his native United States and not unknown to British audiences. Just a few years earlier, he had brought his play Secret Service to London, where his performance as an American Union spy had “created a sensation.” Despite his prior reputation and relative celebrity, there was a seeming belief at the time in a natural accord between Gillette and the character that would go on to define his career. A tale recounted by Harold J. Shepstone in the Strand magazine—already the fictional home of the world's most famous sleuth—underlines the belief in the symbiosis of William Gillette and Sherlock Holmes: When Mr. Gillette arrived on the Celtic in Liverpool, in August last, Mr. Pendleton of the London and North-Western Railway, had a letter to deliver to him. He went on board and asked one of the passengers if he knew Mr. Gillette. The man replied:— “Do you know Sherlock Holmes?” The visitor was rather taken back, and said: “I have read the stories in The Strand Magazine.” “That's all you need know,” said the passenger. “Just look around till you see a man who fits your idea of what Sherlock Holmes ought to be and that's he.” Mr. Pendleton went away, with a laugh. As he was going up the companion-way he collided with a gentleman, and as he looked up to apologize the passenger's advice occurred to him, and he said, “Are you Mr. Gillette?” “I was, before you ran into me,” was the reply. “Here's a letter for you.”
{"title":"William Gillette's Sherlock Holmes, or the “Real” Sherlock Holmes: Seeking Reality in Materiality","authors":"Isabel Stowell-Kaplan","doi":"10.1017/S0040557423000145","DOIUrl":"https://doi.org/10.1017/S0040557423000145","url":null,"abstract":"In 1901, the popular American actor and playwright, William Gillette, arrived in the United Kingdom to tour his new play, Sherlock Holmes. Born in Connecticut in 1853, Gillette was by this time a well-established actor and playwright in his native United States and not unknown to British audiences. Just a few years earlier, he had brought his play Secret Service to London, where his performance as an American Union spy had “created a sensation.” Despite his prior reputation and relative celebrity, there was a seeming belief at the time in a natural accord between Gillette and the character that would go on to define his career. A tale recounted by Harold J. Shepstone in the Strand magazine—already the fictional home of the world's most famous sleuth—underlines the belief in the symbiosis of William Gillette and Sherlock Holmes: When Mr. Gillette arrived on the Celtic in Liverpool, in August last, Mr. Pendleton of the London and North-Western Railway, had a letter to deliver to him. He went on board and asked one of the passengers if he knew Mr. Gillette. The man replied:— “Do you know Sherlock Holmes?” The visitor was rather taken back, and said: “I have read the stories in The Strand Magazine.” “That's all you need know,” said the passenger. “Just look around till you see a man who fits your idea of what Sherlock Holmes ought to be and that's he.” Mr. Pendleton went away, with a laugh. As he was going up the companion-way he collided with a gentleman, and as he looked up to apologize the passenger's advice occurred to him, and he said, “Are you Mr. Gillette?” “I was, before you ran into me,” was the reply. “Here's a letter for you.”","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"177 - 197"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46091433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1017/s0040557423000066
Mohammad Mehdi Kimiagari
the political queer stances taken by British postpunk musicians and how these ignited a flame of resistance, passion, and drive in Southern California Latinx queer workingclass communities. Hands across the water, a kiss across an ocean, the lips that touch here in this book are ones devoted to enacting joyful resistance. Tender, wry, delicate, and rich, A Kiss across the Ocean is a love letter to the theatrically potent musical and visual gestures of the artists and bands of the British postpunk scene that made a difference in the mid-1980s and continue to do so today, even when people may have forgotten some of the bands’ names.
{"title":"Middle Eastern American Theatre: Communities, Cultures, and Artists By Michael Malek Najjar. Critical Companions. London and New York: Bloomsbury Publishing, 2021, pp. xvi + 237, 5 illustrations. $115 cloth, $39.95 paper, $35.95 e-book.","authors":"Mohammad Mehdi Kimiagari","doi":"10.1017/s0040557423000066","DOIUrl":"https://doi.org/10.1017/s0040557423000066","url":null,"abstract":"the political queer stances taken by British postpunk musicians and how these ignited a flame of resistance, passion, and drive in Southern California Latinx queer workingclass communities. Hands across the water, a kiss across an ocean, the lips that touch here in this book are ones devoted to enacting joyful resistance. Tender, wry, delicate, and rich, A Kiss across the Ocean is a love letter to the theatrically potent musical and visual gestures of the artists and bands of the British postpunk scene that made a difference in the mid-1980s and continue to do so today, even when people may have forgotten some of the bands’ names.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"238 - 240"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45313346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1017/S0040557423000157
Jessi Piggott
Germany's amateur agitprop theatre movement produced some of the most popular, pervasive, and politically contentious art in the Weimar Republic, not least because of the way performers inserted themselves into the fabric of working-class life with the unequivocal intention of politicizing audiences. Germany's first agitprop troupes formed within youth clubs affiliated with the Communist Party (KPD) around 1925, but the movement quickly grew beyond established club culture, with troupes sprouting up “like mushrooms,” as one critic of the period put it. By 1929 police estimated there were about two hundred self-proclaimed agitprop troupes spread across Germany, all pursuing a transparently aggressive political agenda: to turn the theatre into a site of revolutionary class struggle. If the Weimar period saw an unprecedented mixing of art and politics, agitprop took this tendency to the extreme by declaring theatre to be a weapon in the hands of the proletariat. As the slogan of the 1931 International Meeting of Agitprop Troupes in Cologne put it: “Workers’ theatre is class struggle.”
{"title":"Playing the Police with the Agitprop Troupes of Weimar Germany","authors":"Jessi Piggott","doi":"10.1017/S0040557423000157","DOIUrl":"https://doi.org/10.1017/S0040557423000157","url":null,"abstract":"Germany's amateur agitprop theatre movement produced some of the most popular, pervasive, and politically contentious art in the Weimar Republic, not least because of the way performers inserted themselves into the fabric of working-class life with the unequivocal intention of politicizing audiences. Germany's first agitprop troupes formed within youth clubs affiliated with the Communist Party (KPD) around 1925, but the movement quickly grew beyond established club culture, with troupes sprouting up “like mushrooms,” as one critic of the period put it. By 1929 police estimated there were about two hundred self-proclaimed agitprop troupes spread across Germany, all pursuing a transparently aggressive political agenda: to turn the theatre into a site of revolutionary class struggle. If the Weimar period saw an unprecedented mixing of art and politics, agitprop took this tendency to the extreme by declaring theatre to be a weapon in the hands of the proletariat. As the slogan of the 1931 International Meeting of Agitprop Troupes in Cologne put it: “Workers’ theatre is class struggle.”","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"198 - 221"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45027655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1017/s0040557423000091
Donna L. Forsgren, T. D. Arendell, Chrystyna M. Dail
{"title":"TSY volume 64 issue 2 Cover and Front matter","authors":"Donna L. Forsgren, T. D. Arendell, Chrystyna M. Dail","doi":"10.1017/s0040557423000091","DOIUrl":"https://doi.org/10.1017/s0040557423000091","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"f1 - f6"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46688048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1017/S0040557423000042
Ruijiao Dong
{"title":"Postdramatic Dramaturgies: Resonances between Asia and Europe Edited by Kai Tuchmann. Theater. Bielefeld: transcript Verlag, 2022; pp. xii + 294, 12 illustrations. $45.00 cloth, free e-book.","authors":"Ruijiao Dong","doi":"10.1017/S0040557423000042","DOIUrl":"https://doi.org/10.1017/S0040557423000042","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"234 - 236"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42752587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1017/S0040557423000078
Stephen Watkins
and Arabophobia in the current nativist political climate, Najjar designates persecution plays in Chapter 3 as works that explore these issues in relation to governmental and societal persecutions. Back of the Throat (2005) by the playwright Yussef El Guindi is one such play produced in the post-9/11 era. In Chapter 4, Najjar specifies that diaspora plays, “[l]ike the previous persecution plays . . . deal with many complicated issues, but they are more personal and less about the outside persecution they feel around them (though many have this aspect as well)” (95). From plays set in the homeland discussed in Chapter 5, which recreate and reimagine the lost country of origin and attend to troubles stemming from occupation and colonialism, to conflict plays analyzed in Chapter 6, filled with stories concerning refugee crises and civil wars, it is possible, as observed by Najjar, to notice a pattern gesturing toward the fact that Middle Eastern American theatre is living through a renaissance of sorts as more plays and companies turn their attention to Middle Eastern American communities. Through a shift of focus from the works of playwrights to the critical perspectives of influential directors in an interview format, Najjar concludes his book with a constructive dialogue shaped around the development of artistic creation and pivotal issues faced by the Middle Eastern theatre. Via its astute intervention in the aesthetic discourse of Middle Eastern communities in the Americas, Najjar’s text felicitously enriches the burgeoning scholarship of Middle Eastern American theatre.
在当前的本土主义政治气候下，Najjar将第三章中的迫害戏剧指定为探索这些与政府和社会迫害有关的问题的作品。剧作家Yussef El Guindi的《喉咙的背后》（2005）就是一部在后9/11时代制作的戏剧。在第4章中，Najjar指出，散居国外的戏剧，“就像以前的迫害戏剧一样……处理许多复杂的问题，但它们更个人化，而不太关心他们周围感受到的外部迫害（尽管许多人也有这方面）”（95）。从第五章讨论的以祖国为背景的戏剧，再现和重新想象失去的原籍国，处理由占领和殖民主义引起的麻烦，到第六章分析的冲突戏剧，充满了难民危机和内战的故事，正如纳贾尔所观察到的，注意到一种模式表明，随着越来越多的戏剧和公司将注意力转向中东裔美国人社区，中东裔美国人的戏剧正在经历某种复兴。纳贾尔以采访的形式将焦点从剧作家的作品转移到有影响力的导演的批评视角，以围绕艺术创作的发展和中东戏剧面临的关键问题展开的建设性对话结束了他的书。纳贾尔的文本巧妙地介入了美洲中东社区的美学话语，有力地丰富了中东美国戏剧蓬勃发展的学术成果。
{"title":"Speculative Enterprise: Public Theaters and Financial Markets in London, 1688–1763 By Mattie Burkert. Charlottesville and London: University of Virginia Press, 2021; pp. ix + 284, 7 illustrations. $95.00 cloth, $39.50 paper, $29.50 e-book.","authors":"Stephen Watkins","doi":"10.1017/S0040557423000078","DOIUrl":"https://doi.org/10.1017/S0040557423000078","url":null,"abstract":"and Arabophobia in the current nativist political climate, Najjar designates persecution plays in Chapter 3 as works that explore these issues in relation to governmental and societal persecutions. Back of the Throat (2005) by the playwright Yussef El Guindi is one such play produced in the post-9/11 era. In Chapter 4, Najjar specifies that diaspora plays, “[l]ike the previous persecution plays . . . deal with many complicated issues, but they are more personal and less about the outside persecution they feel around them (though many have this aspect as well)” (95). From plays set in the homeland discussed in Chapter 5, which recreate and reimagine the lost country of origin and attend to troubles stemming from occupation and colonialism, to conflict plays analyzed in Chapter 6, filled with stories concerning refugee crises and civil wars, it is possible, as observed by Najjar, to notice a pattern gesturing toward the fact that Middle Eastern American theatre is living through a renaissance of sorts as more plays and companies turn their attention to Middle Eastern American communities. Through a shift of focus from the works of playwrights to the critical perspectives of influential directors in an interview format, Najjar concludes his book with a constructive dialogue shaped around the development of artistic creation and pivotal issues faced by the Middle Eastern theatre. Via its astute intervention in the aesthetic discourse of Middle Eastern communities in the Americas, Najjar’s text felicitously enriches the burgeoning scholarship of Middle Eastern American theatre.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"240 - 242"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49087033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1017/S0040557423000030
Darren Gobert
evolution from stage to screen. Multiple factors, including photorealism, black-and-white films’ inability to present skin color accurately, and the emphasis on technology in film makeup, led to the obsession with the epicanthic fold, also known as the “Oriental eye,” and the subsequent invention of “prosthetic yellowface” (150–2). Regardless of technological innovations, screen yellowface remained at its core a manifestation of nineteenth-century scientific racism: whereas non–Anglo-Saxon European makeup became white makeup, Asian makeup was relegated to special effects on par with those of deformed or nonhuman characters, which reflected the contemporary ideology of “yellow peril” (154). After unpacking yellowface performances from Hollywood stars such as Lon Chaney, Boris Karloff, and Katharine Hepburn, Lee proceeds to make clear in the Epilogue that yellowface goes hand in hand with casting effectively to push out Asian American performers. Made-Up Asians is a long-awaited work that fills a lacuna in theatre and performance studies, film studies, and American Studies. I especially appreciate Lee’s generosity. In addition to meticulous research and compelling analysis, the book provides valuable pictorial evidence (twenty-three figures) and an appendix that documents yellowface instructions in makeup manuals to spark further research. Lee’s lucid writing style also makes her work accessible to general readers. Made-Up Asians is truly a rare accomplishment that needs to be read, referenced, and taught.
{"title":"Performance and Modernity: Enacting Change on the Globalizing Stage By Julia A. Walker. Cambridge: Cambridge University Press, 2021; pp. xiii + 299, 20 illustrations. $99.99 cloth, $99.99 e-book.","authors":"Darren Gobert","doi":"10.1017/S0040557423000030","DOIUrl":"https://doi.org/10.1017/S0040557423000030","url":null,"abstract":"evolution from stage to screen. Multiple factors, including photorealism, black-and-white films’ inability to present skin color accurately, and the emphasis on technology in film makeup, led to the obsession with the epicanthic fold, also known as the “Oriental eye,” and the subsequent invention of “prosthetic yellowface” (150–2). Regardless of technological innovations, screen yellowface remained at its core a manifestation of nineteenth-century scientific racism: whereas non–Anglo-Saxon European makeup became white makeup, Asian makeup was relegated to special effects on par with those of deformed or nonhuman characters, which reflected the contemporary ideology of “yellow peril” (154). After unpacking yellowface performances from Hollywood stars such as Lon Chaney, Boris Karloff, and Katharine Hepburn, Lee proceeds to make clear in the Epilogue that yellowface goes hand in hand with casting effectively to push out Asian American performers. Made-Up Asians is a long-awaited work that fills a lacuna in theatre and performance studies, film studies, and American Studies. I especially appreciate Lee’s generosity. In addition to meticulous research and compelling analysis, the book provides valuable pictorial evidence (twenty-three figures) and an appendix that documents yellowface instructions in makeup manuals to spark further research. Lee’s lucid writing style also makes her work accessible to general readers. Made-Up Asians is truly a rare accomplishment that needs to be read, referenced, and taught.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"231 - 233"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49383495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1017/S004055742300008X
Hong-lin Yang
for private interests at the expense of the public good. Part II comprises two chapters that investigate how the theatre–finance nexus responded to a financial crisis that has since come to define modern ideas of speculative enterprise: the South Sea Bubble (1720–2). Chapter 4 covers Richard Steele’s short-lived periodical The Theatre, which ran for three months in the wake of the bubble in 1720, as well as his play The Conscious Lovers (1722). In a fascinating excavation of Steele’s reflections on the bubble and its aftermath, Burkert shows how his work, like Centlivre’s, ultimately gives “voice to the concern that elites could use new market structures and dynamics to hijack what appeared to be middling-class sentiments” (123). The book concludes by returning to Cibber and a late comedy, The Refusal; or, The Ladies Philosophy (1721), to show how another writer with middling-class sympathies used his position within the theatre to “theoriz[e] the relationship between changing class structures, speculative investment, and public opinion” (156). Burkert ends with a brief coda that discusses the Half-Price Riots of the 1760s, showing how the theatre–finance nexus persisted into the second half of the century. Burkert’s thesis is highly compelling, and I cannot do justice here to the erudition and deftness of her argumentation and analysis. Through her careful contextualization of the plays and other works within the history of financial crises, she overturns long-held critical assumptions about, among other things, sentimental comedy and its relationship to the emergent middling class. This stimulating account shows how the early eighteenth-century theatre responded to the economic crises that so materially determined its own opportunities for success and failure. The book will prove an extremely valuable contribution to scholars working on the theatre history of the period, as well as on cultural representations of, and engagements with, finance and economics in the early eighteenth century.
{"title":"The Theatre of Nuclear Science: Weapons, Power, and the Scientists behind it All By Jeanne Tiehen. Routledge Advances in Theatre & Performance Studies. London: Routledge, 2021; pp. 166. $170.00 cloth, $39.71 e-book.","authors":"Hong-lin Yang","doi":"10.1017/S004055742300008X","DOIUrl":"https://doi.org/10.1017/S004055742300008X","url":null,"abstract":"for private interests at the expense of the public good. Part II comprises two chapters that investigate how the theatre–finance nexus responded to a financial crisis that has since come to define modern ideas of speculative enterprise: the South Sea Bubble (1720–2). Chapter 4 covers Richard Steele’s short-lived periodical The Theatre, which ran for three months in the wake of the bubble in 1720, as well as his play The Conscious Lovers (1722). In a fascinating excavation of Steele’s reflections on the bubble and its aftermath, Burkert shows how his work, like Centlivre’s, ultimately gives “voice to the concern that elites could use new market structures and dynamics to hijack what appeared to be middling-class sentiments” (123). The book concludes by returning to Cibber and a late comedy, The Refusal; or, The Ladies Philosophy (1721), to show how another writer with middling-class sympathies used his position within the theatre to “theoriz[e] the relationship between changing class structures, speculative investment, and public opinion” (156). Burkert ends with a brief coda that discusses the Half-Price Riots of the 1760s, showing how the theatre–finance nexus persisted into the second half of the century. Burkert’s thesis is highly compelling, and I cannot do justice here to the erudition and deftness of her argumentation and analysis. Through her careful contextualization of the plays and other works within the history of financial crises, she overturns long-held critical assumptions about, among other things, sentimental comedy and its relationship to the emergent middling class. This stimulating account shows how the early eighteenth-century theatre responded to the economic crises that so materially determined its own opportunities for success and failure. The book will prove an extremely valuable contribution to scholars working on the theatre history of the period, as well as on cultural representations of, and engagements with, finance and economics in the early eighteenth century.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"242 - 244"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43250188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1017/S0040557423000054
Caridad Svich
{"title":"A Kiss across the Ocean: Transatlantic Intimacies of British Post-Punk & US Latinidad By Richard T. Rodríguez. Durham, NC: Duke University Press, 2022; pp. xv + 264, 28 illustrations. $99.95 cloth, $25.95 paper, $25.95 e-book.","authors":"Caridad Svich","doi":"10.1017/S0040557423000054","DOIUrl":"https://doi.org/10.1017/S0040557423000054","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"236 - 238"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43371724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：