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Othello in Oman

Aḥmad al-Izkī’s Fusion of Shakespeare and Classical Arab Epic

Katherine Hennessey

Ali Bin Jawad, ‘Oman’, trans. Yacob Idris, in The World Encyclopedia of Contemporary Theatre. Vol. 4: The Arab World , ed. Don Rubin with Ghassan Maleh, Farouk Ohan, Samir Sarhan and Ahmed Zaki (London: Routledge, 1999), 182. 16 Abd-Elkarim Bin Ali

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Gideon Kouts

covered the start of rehearsals in a gossipy style. 9 On the day of the debut performance, 14 May 1936, HaBoker published remarks by the director, Leopold Jessner, ‘On the Contemporary Theatre and the Roles of the Hebrew Theatre’, 10 in which he

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An Arabian Night with Swedish Direction

Shakespeare’s A Midsummer Night’s Dream in Egypt and Sweden, 2003

Robert Lyons

workshops, financed by the Swedish Foreign Aid Authority (SIDA) and the Swedish Dramatic Institute (Dramatiska Institutet), were expressly aimed at supporting and strengthening contemporary theatre in the Arab world. Eva Bergman attended the Aqaba workshop

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Introduction

Creative Practices/Resistant Acts

Nesreen Hussein and Iain MacKenzie

Arab Spring,” edited by Hazem Azmy and Marvin Carlson (2013), and the special issue of Contemporary Theatre Review titled “Theatre, Performance and Activism: Gestures towards an Equitable World,” edited by Jenny Hughes and Simon Parry (2015). While

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“For a Martyr from Afar”

A Response to Laila Soliman’s No Time for Art

Caroline Rooney

://science.howstuffworks.com/zoology/marine-life/question630.htm . Hussein , Nesreen . 2015 . “ Gestures of Resistance between the Street and the Theatre: Documentary Theatre in Egypt and Laila Soliman’s No Time for Art .” Contemporary Theatre Review 25 ( 3 ): 357 – 370 . 10

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Shakespeare in Sarajevo

Theatrical and Cinematic Encounters with the Balkans War

Sara Soncini

Violent Love: A Balkan Reading of Blasted’, Contemporary Theatre Review 22, no. 4 (2012): 499–511. 15 Kane in Graham Saunders, ‘Love Me Or Kill Me’: Sarah Kane and the Theatre of Extremes (Manchester: Manchester University Press, 2002), 38. 16 David

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‘Off Path, Counter Path’

Contemporary Walking Collaborations in Landscape, Art and Poetry

Harriet Tarlo and Judith Tucker

, ‘Walking Women: Shifting the Tales and Scales of Mobility’, Contemporary Theatre Review 22, no. 2 (2012): 224–236. 50 Ibid., 235. 51 See https://walkinglibraryproject.wordpress.com/ (accessed 14 July 2016). 52 Karen E. Till, Mapping Spectral Traces

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Knitted Naked Suits and Shedding Skins

The Body Politics of Popfeminist Musical Performances in the Twenty-first Century

Maria Stehle

Analysis and Popular Music: A Manifesto,” Contemporary Theatre Review 14, no. 1 (2004): 1–13, here 5. 44 Ibid., 3. 45 For a more detailed reading of this video see Smith-Prei and Stehle (see note 4). 46 Hito Steyerl, Die Farbe der Wahrheit

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Spatializing Radical Political Imaginaries

Neoliberalism, Crisis, and Transformative Experience in the Syntagma Square Occupation in Greece

Dimitris Soudias

Syntagma Square .” Contemporary Theatre Review 21 ( 4 ): 550 – 553 . doi: 10.1080/10486801.2011.617521 . Haiven , Max . 2014 . Crises of Imagination, Crises of Power: Capitalism, Creativity and the Commons . London : Zed . 10