Pub Date : 2024-04-29DOI: 10.1017/s0266464x24000010
Milad Azarm
This article examines Shabih’khani, a traditional ritual performance in Iran also known as Ta’ziyeh, in the context of the ‘Woman, Life, Freedom’ movement. It includes the historical challenges faced by Iranian women in a patriarchal society dominated by politics and religion, augmenting existing research on women’s Shabih’khani through recently discovered documents that show the erasure of feminine symbols within the tradition. The article also explores the theatrical conventions, dramaturgical elements, and historical reasons for the emergence and decline of women’s Shabih’khani, together with factors that contribute to the endurance of men’s Shabih’khani. By drawing connections and comparisons between Shabih’khani and the contemporary ‘Woman, Life, Freedom’ movement, it illuminates the factors shaping the movement and offers insights into its potential for success and progress.
{"title":"Feminist Rereading of Shabih’khani in Iran","authors":"Milad Azarm","doi":"10.1017/s0266464x24000010","DOIUrl":"https://doi.org/10.1017/s0266464x24000010","url":null,"abstract":"<p>This article examines Shabih’khani, a traditional ritual performance in Iran also known as Ta’ziyeh, in the context of the ‘Woman, Life, Freedom’ movement. It includes the historical challenges faced by Iranian women in a patriarchal society dominated by politics and religion, augmenting existing research on women’s Shabih’khani through recently discovered documents that show the erasure of feminine symbols within the tradition. The article also explores the theatrical conventions, dramaturgical elements, and historical reasons for the emergence and decline of women’s Shabih’khani, together with factors that contribute to the endurance of men’s Shabih’khani. By drawing connections and comparisons between Shabih’khani and the contemporary ‘Woman, Life, Freedom’ movement, it illuminates the factors shaping the movement and offers insights into its potential for success and progress.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140808495","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 : 2024-04-29DOI: 10.1017/s0266464x24000071
Naphtaly Shem-Tov
This article argues that Hebrew theatre is defined by a hegemonic Ashkenaziness that has been present from its beginning and which continues today. It identifies four main components of this hegemony, each of which is examined in turn. The first two components, Hebrew culture and Eurocentrism, are analyzed in relation to the repertoire of plays presented at such theatres as Habima, Ohel, and Cameri. This repertoire combines Yiddish plays and translations of European plays, while also reproducing Orientalist attitudes towards Mizrahi culture. The third component, privileged citizenship, centres on the privileges afforded to Ashkenazi artists and actors in the theatre when compared to Mizrahi actors, especially in terms of casting decisions. Finally, hegemonic Ashkenaziness is defined by membership of the middle class, which, in the theatre, leads to productions being targeted at an Ashkenazi audience and its cultural capital.
{"title":"The Hegemonic Ashkenaziness of Hebrew Theatre","authors":"Naphtaly Shem-Tov","doi":"10.1017/s0266464x24000071","DOIUrl":"https://doi.org/10.1017/s0266464x24000071","url":null,"abstract":"<p>This article argues that Hebrew theatre is defined by a hegemonic Ashkenaziness that has been present from its beginning and which continues today. It identifies four main components of this hegemony, each of which is examined in turn. The first two components, Hebrew culture and Eurocentrism, are analyzed in relation to the repertoire of plays presented at such theatres as Habima, Ohel, and Cameri. This repertoire combines Yiddish plays and translations of European plays, while also reproducing Orientalist attitudes towards Mizrahi culture. The third component, privileged citizenship, centres on the privileges afforded to Ashkenazi artists and actors in the theatre when compared to Mizrahi actors, especially in terms of casting decisions. Finally, hegemonic Ashkenaziness is defined by membership of the middle class, which, in the theatre, leads to productions being targeted at an Ashkenazi audience and its cultural capital.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140808499","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 : 2024-04-29DOI: 10.1017/s0266464x24000046
Maria Shevtsova
Valery Galendeyev seemed immortal, so steady was his demeanour, so light his ample frame. We knew that he had had serious Covid early in the pandemic but his habitual warmth and gentle irony belied his health’s decline as he continued to work as if it would never stop. He understood, though, that, sooner rather than later, his growing ill heath, which he discreetly set aside, would stop him.
{"title":"Embodied Voice Valery Nikolayevich Galendeyev 12.5.1946 – 24.1.2024","authors":"Maria Shevtsova","doi":"10.1017/s0266464x24000046","DOIUrl":"https://doi.org/10.1017/s0266464x24000046","url":null,"abstract":"<p>Valery Galendeyev seemed immortal, so steady was his demeanour, so light his ample frame. We knew that he had had serious Covid early in the pandemic but his habitual warmth and gentle irony belied his health’s decline as he continued to work as if it would never stop. He understood, though, that, sooner rather than later, his growing ill heath, which he discreetly set aside, would stop him.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140808517","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 : 2024-02-13DOI: 10.1017/s0266464x23000337
Qaisar Abbas
The neoliberal enterprise of NGOs has transformed the left-leaning politics of the political theatre movement in the Punjab region of Pakistan. Commencing in the 1980s, this theatre acted as a vibrant movement of the Left, challenging the brutal military dictatorship of General Zia. At a later stage, its politics changed to the neoliberal politics of NGOs, giving way to economics and the agenda of international donor organizations of the Global North. This article demonstrates the turn-around of theatre company Ajoka’s recent production Saira aur Miara (2019) and focuses on the production’s politics, together with its text, design, and performance modes in aesthetic terms. A materialist and context-specific political approach examines to what extent class struggle and leftist ideas inform this company’s ideological imaginings and how much it has moved away from its original political position. It indicates the tensions and contradictions that have been created during this change and because of it.
{"title":"NGOs and the Neo-Liberalization of Political Theatre in Pakistan: Ajoka’s Surrender to the Politics of Rights","authors":"Qaisar Abbas","doi":"10.1017/s0266464x23000337","DOIUrl":"https://doi.org/10.1017/s0266464x23000337","url":null,"abstract":"The neoliberal enterprise of NGOs has transformed the left-leaning politics of the political theatre movement in the Punjab region of Pakistan. Commencing in the 1980s, this theatre acted as a vibrant movement of the Left, challenging the brutal military dictatorship of General Zia. At a later stage, its politics changed to the neoliberal politics of NGOs, giving way to economics and the agenda of international donor organizations of the Global North. This article demonstrates the turn-around of theatre company Ajoka’s recent production <jats:italic>Saira aur Miara</jats:italic> (2019) and focuses on the production’s politics, together with its text, design, and performance modes in aesthetic terms. A materialist and context-specific political approach examines to what extent class struggle and leftist ideas inform this company’s ideological imaginings and how much it has moved away from its original political position. It indicates the tensions and contradictions that have been created during this change and because of it.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139750307","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 : 2024-02-13DOI: 10.1017/s0266464x23000350
Matthew Wilson Smith
Abject breath, running over with its own refuse and yet refusing to stop breathing, forms a gasping undertone to Beckett’s oeuvre. To give a sense of the longevity and development of Beckettian respiration, this article examines passages across the range of his career, paying attention to several prose works – the short story ‘Dante and the Lobster’ (1934) and the novels Murphy (1938) and Molloy (1951/55) – and two brief plays: Breath (1969) and Not I (1972). While there is no simple development of Beckett’s writing on the breath, an ambiguous movement can be traced from an initial rejection of a conception of the breath as immaculate and easeful to a deeper exploration of breath as polluted and broken, and to a final, insistent association of respiration with rubbish, and life with death. If there is hope to be found in the Beckettian breath, it lies not on the page but in the breath-carried conversations of the rehearsal room, exemplified above all by his collaboration with Billie Whitelaw on Not I.
{"title":"Beckett’s Wasted Breath","authors":"Matthew Wilson Smith","doi":"10.1017/s0266464x23000350","DOIUrl":"https://doi.org/10.1017/s0266464x23000350","url":null,"abstract":"Abject breath, running over with its own refuse and yet refusing to stop breathing, forms a gasping undertone to Beckett’s oeuvre. To give a sense of the longevity and development of Beckettian respiration, this article examines passages across the range of his career, paying attention to several prose works – the short story ‘Dante and the Lobster’ (1934) and the novels <jats:italic>Murphy</jats:italic> (1938) and <jats:italic>Molloy</jats:italic> (1951/55) – and two brief plays: <jats:italic>Breath</jats:italic> (1969) and <jats:italic>Not I</jats:italic> (1972). While there is no simple development of Beckett’s writing on the breath, an ambiguous movement can be traced from an initial rejection of a conception of the breath as immaculate and easeful to a deeper exploration of breath as polluted and broken, and to a final, insistent association of respiration with rubbish, and life with death. If there is hope to be found in the Beckettian breath, it lies not on the page but in the breath-carried conversations of the rehearsal room, exemplified above all by his collaboration with Billie Whitelaw on <jats:italic>Not I.</jats:italic>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139750312","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 : 2024-02-13DOI: 10.1017/s0266464x23000325
Eugenio Barba
Eugenio Barba has honoured NTQ by entrusting to its pages his very personal introduction to his most recent book, Le Mie vite nel terzo teatro: Diffrenza, mestiere, rivolta (My Lives in the Third Theatre: Difference, Craft, Revolt), which has here been specially translated into English by Judy Barba, the co-dedicatee, along with Julia Varley and Vera Gaeta, of his book: the ‘origins and accomplices of my journey to the archipelago of floating islands’. NTQ received this translation, here prepared by the journal’s editor, Maria Shevtsova, ahead of the book’s launch on 5 October 2023 at the Biblioteca Bernardini in Lecce in Puglia. On a grander scale, a few days later, the occasion also saw the opening in Barba’s honour of his and the Odin Teatret archives under the banner of LAFLIS (Living Archive Floating Islands), located in a wing of the three-dimensional immersive museum of the Bernardini. LAFLIS’s rich collection includes written material, film and video documentaries, recordings of performances, and such artefacts and equipment as instruments, masks, and costumes gathered during Third Theatre work. The latter is neither established-classical nor avant-garde theatre but ‘other’ – small-group, sometimes unofficial, and often self-taught theatre. LAFLIS is not exclusively intended for researchers and scholars, but is open as well to interested members of the general public. Barba’s introduction to My Lives in the Third Theatre is here published in full, clearly signposting, together with the author’s succinct commentary, the itinerary of his life’s multifarious work, which involved, and still involves, a wide range of participants and collaborators in different times, places, and languages, and in differing forms and patterns of creativity.Barba’s account begins with his departure from Italy to Norway (1954), and his apprenticeship as a welder, and then a mariner, before tracing his move to study in Poland (1961), where he meets and works with Grotowski, his return to Oslo, where he founds Odin Teatret (1964), and then his emigration to Denmark (1966), where Odin Teatret establishes its niche within the larger framework that Barba named the Nordisk Teaterlaboratorium. Barba’s journey continued, encompassing numerous theatre endeavours, including the development of the idea of a Third Theatre (the ‘floating islands’ alluded to above); the seminal ISTA (International School of Theatre Anthropology, 1979); and, although quite clearly not at journey’s end, the Fondazione Barba Varley established in 2020.
{"title":"Creating Earthquakes","authors":"Eugenio Barba","doi":"10.1017/s0266464x23000325","DOIUrl":"https://doi.org/10.1017/s0266464x23000325","url":null,"abstract":"Eugenio Barba has honoured NTQ by entrusting to its pages his very personal introduction to his most recent book, <jats:italic>Le Mie vite nel terzo teatro: Diffrenza, mestiere, rivolta</jats:italic> (<jats:italic>My Lives in the Third Theatre: Difference, Craft, Revolt</jats:italic>), which has here been specially translated into English by Judy Barba, the co-dedicatee, along with Julia Varley and Vera Gaeta, of his book: the ‘origins and accomplices of my journey to the archipelago of floating islands’. NTQ received this translation, here prepared by the journal’s editor, Maria Shevtsova, ahead of the book’s launch on 5 October 2023 at the Biblioteca Bernardini in Lecce in Puglia. On a grander scale, a few days later, the occasion also saw the opening in Barba’s honour of his and the Odin Teatret archives under the banner of LAFLIS (Living Archive Floating Islands), located in a wing of the three-dimensional immersive museum of the Bernardini. LAFLIS’s rich collection includes written material, film and video documentaries, recordings of performances, and such artefacts and equipment as instruments, masks, and costumes gathered during Third Theatre work. The latter is neither established-classical nor avant-garde theatre but ‘other’ – small-group, sometimes unofficial, and often self-taught theatre. LAFLIS is not exclusively intended for researchers and scholars, but is open as well to interested members of the general public. Barba’s introduction to <jats:italic>My Lives in the Third Theatre</jats:italic> is here published in full, clearly signposting, together with the author’s succinct commentary, the itinerary of his life’s multifarious work, which involved, and still involves, a wide range of participants and collaborators in different times, places, and languages, and in differing forms and patterns of creativity.Barba’s account begins with his departure from Italy to Norway (1954), and his apprenticeship as a welder, and then a mariner, before tracing his move to study in Poland (1961), where he meets and works with Grotowski, his return to Oslo, where he founds Odin Teatret (1964), and then his emigration to Denmark (1966), where Odin Teatret establishes its niche within the larger framework that Barba named the Nordisk Teaterlaboratorium. Barba’s journey continued, encompassing numerous theatre endeavours, including the development of the idea of a Third Theatre (the ‘floating islands’ alluded to above); the seminal ISTA (International School of Theatre Anthropology, 1979); and, although quite clearly not at journey’s end, the Fondazione Barba Varley established in 2020.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139750314","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 : 2024-02-13DOI: 10.1017/s0266464x23000374
Maria Shevtsova
MITEM (Mádach International Theatre Meeting) celebrated its tenth anniversary in October 2023, somewhat out of sync and out of time because of the festival’s cancellation due to Covid in 2020. It was absorbed into the Theatre Olympics (as discussed in New Theatre Quarterly, XXXIX, No. 4 (November 2023) [NTQ 156], p. 377–86), but its most recent edition was something of a replacement for the cancelled event, presented in the round figure of ten that has made everybody happy. It has also allowed this editor to follow through with a ‘PS’ to that article, acknowledging the importance of MITEM for both the National Theatre in Budapest and the theatregoing public. By contrast with the three and a half months of the Theatre Olympiad, MITEM lasted a modest twenty-four days.
{"title":"Post Scriptum Budapest: The Tenth International Meeting of Theatre (MITEM)","authors":"Maria Shevtsova","doi":"10.1017/s0266464x23000374","DOIUrl":"https://doi.org/10.1017/s0266464x23000374","url":null,"abstract":"MITEM (Mádach International Theatre Meeting) celebrated its tenth anniversary in October 2023, somewhat out of sync and out of time because of the festival’s cancellation due to Covid in 2020. It was absorbed into the Theatre Olympics (as discussed in <jats:italic>New Theatre Quarterly</jats:italic>, XXXIX, No. 4 (November 2023) [NTQ 156], p. 377–86), but its most recent edition was something of a replacement for the cancelled event, presented in the round figure of ten that has made everybody happy. It has also allowed this editor to follow through with a ‘PS’ to that article, acknowledging the importance of MITEM for both the National Theatre in Budapest and the theatregoing public. By contrast with the three and a half months of the Theatre Olympiad, MITEM lasted a modest twenty-four days.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139750296","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 : 2024-02-13DOI: 10.1017/s0266464x23000362
Inesa Shevchenko-Hotsuliak, Núria Casado-Gual
This comparative study of Tristan Bernays’ Old Fools (2018) and Nick Payne’s Elegy (2016) concerns two contemporary plays in which love manifested in middle-age and older adulthood is a determinant factor in the reconceptualization of the ageing self, particularly when afflicted by memory loss or cognitive failure. Positioned within the framework of theatre and ageing studies, and drawing from their intersection with gender studies and disability theories, the study demonstrates that the narrative arc that both texts recreate is not free of overtones of decline. However, the manipulation of chronological time in both plays through different techniques, as well as the importance of their love story, one between a man and a woman in Old Fools, and the other between two women in Elegy, help disrupt the binary of young/old perpetuated by ageist cultures, and, ultimately, undermine rigid constructions of identity in old age. The article concludes that new theatrical representations of ageing that develop narratives of love not only enable richer debates on the construction of the self, but ultimately contribute to an all-inclusive stage and, with it, to an age-friendly society.
{"title":"The Ageing Self through Dramaturgies of Memory Loss and Love: Tristan Bernays’ Old Fools and Nick Payne’s Elegy","authors":"Inesa Shevchenko-Hotsuliak, Núria Casado-Gual","doi":"10.1017/s0266464x23000362","DOIUrl":"https://doi.org/10.1017/s0266464x23000362","url":null,"abstract":"This comparative study of Tristan Bernays’ <jats:italic>Old Fools</jats:italic> (2018) and Nick Payne’s <jats:italic>Elegy</jats:italic> (2016) concerns two contemporary plays in which love manifested in middle-age and older adulthood is a determinant factor in the reconceptualization of the ageing self, particularly when afflicted by memory loss or cognitive failure. Positioned within the framework of theatre and ageing studies, and drawing from their intersection with gender studies and disability theories, the study demonstrates that the narrative arc that both texts recreate is not free of overtones of decline. However, the manipulation of chronological time in both plays through different techniques, as well as the importance of their love story, one between a man and a woman in <jats:italic>Old Fools</jats:italic>, and the other between two women in <jats:italic>Elegy</jats:italic>, help disrupt the binary of young/old perpetuated by ageist cultures, and, ultimately, undermine rigid constructions of identity in old age. The article concludes that new theatrical representations of ageing that develop narratives of love not only enable richer debates on the construction of the self, but ultimately contribute to an all-inclusive stage and, with it, to an age-friendly society.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139750304","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 : 2024-02-13DOI: 10.1017/s0266464x23000349
Lorenzo Montanini
The training that the Saratoga International Theater Institute (SITI) perfected during its thirty years of existence is its most relevant heritage. SITI believed that training was a crucial part of a performer’s education and ethos. Its constitutive elements – Viewpoints and the Suzuki Method for actor training – are here put in a dialectical opposition that nurtures hybridization. This article investigates how, in fact, these two trainings intersect and also form new ‘languages’ (that is, systems of representation) whenever they are performed. A contextual analysis of SITI’s training as a foundation for making work and as a means for educating actors provides a clearer understanding of why and how SITI training is an instrument that facilitates and fosters cross-cultural collaboration.
{"title":"SITI Training: Viewpoints and the Suzuki Method for Cross-Cultural Collaboration","authors":"Lorenzo Montanini","doi":"10.1017/s0266464x23000349","DOIUrl":"https://doi.org/10.1017/s0266464x23000349","url":null,"abstract":"The training that the Saratoga International Theater Institute (SITI) perfected during its thirty years of existence is its most relevant heritage. SITI believed that training was a crucial part of a performer’s education and ethos. Its constitutive elements – Viewpoints and the Suzuki Method for actor training – are here put in a dialectical opposition that nurtures hybridization. This article investigates how, in fact, these two trainings intersect and also form new ‘languages’ (that is, systems of representation) whenever they are performed. A contextual analysis of SITI’s training as a foundation for making work and as a means for educating actors provides a clearer understanding of why and how SITI training is an instrument that facilitates and fosters cross-cultural collaboration.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139750315","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 : 2024-02-01DOI: 10.1017/s0266464x23000398
Maggie B. Gale
{"title":"David Linton Nation and Race in West End Revue 1910-1930 Basingstoke: Palgrave Macmillan, 2021. 197 p. £59.99. ISBN: 978-3-030-75211-8.","authors":"Maggie B. Gale","doi":"10.1017/s0266464x23000398","DOIUrl":"https://doi.org/10.1017/s0266464x23000398","url":null,"abstract":"","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139825725","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}
扫码关注我们
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号