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- TDR The Drama Review | MIT Press
As of volume 65, TDR: The Drama Review is published by Cambridge University Press Volumes 42-64 are available here, on our site TDR traces the broad spectrum of performances, studying performances in their aesthetic, social, economic, and political contexts With an emphasis on experimental, avant-garde, intercultural, and interdisciplinary performance, TDR covers performance art, theatre
- Volume 64 Issue 4 (248) | TDR The Drama Review | MIT Press
Performing Tlatelolco and the Past That Never Dies: Auxilio: Au secours and El pasado nunca se muere, ni siquiera es pasado
- TDR The Drama Review | MIT Press | Browse By Year
TDR The Drama Review | MIT Press 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
- Volume 62 Issue 4 (240) | TDR The Drama Review | MIT Press
A Drama of Saintly Devotion: Performing Ecstasy and Status at the Shaam-e-Qalandar Festival in Pakistan Amen Jaffer
- Volume 62 Issue 1 (237) | TDR The Drama Review | MIT Press
Reproducing the White Bourgeois: The Sitting-Room Drama of Marina Abramović Eleanor Skimin
- Volume 63 Issue 4 (244) | TDR The Drama Review | MIT Press
Algorithmic Avantgardes Algorithms and Interoperability between Drama and Artificial Intelligence Antonio Pizzo, Vincenzo Lombardo, Rossana Damiano
- Volume 58 Issue 4 (224) | TDR The Drama Review | MIT Press
The Cambridge Companion to Theatre History Edited by David Wiles and Christine Dymkowski Cambridge: Cambridge University Press, 2013; 332 pp ; illustrations $90 00 cloth, $29 99 paper, e-book available
- Volume 44 Issue 1 (165) | TDR The Drama Review | MIT Press
TDR The Drama Review (2000) 44 (1 (165)): 10–28
- TDR The Drama Review | MIT Press | Browse By Year
TDR The Drama Review | MIT Press Volume 64, Number 1 (245) Volume 64, Number 2 (246) Volume 64, Number 3 (247) Volume 64, Number 4 (248)
- Performance Studies: Interventions and Radical Research1
Abstract “Only middle-class academics could blithely assume that all the world is a text,” writes one of performance studies' leading figures Conquergood argues for a hybrid discipline that celebrates experience and commingles the analytic and the artistic
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