Titlebook: Contemporary American Theatre; Bruce King (co-editor of the Modern Dramatists ser Book 1991 Palgrave Macmillan, a division of Macmillan Pu

決絕

書目名稱Contemporary American Theatre影響因子(影響力)




書目名稱Contemporary American Theatre影響因子(影響力)學(xué)科排名




書目名稱Contemporary American Theatre網(wǎng)絡(luò)公開度




書目名稱Contemporary American Theatre網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Contemporary American Theatre被引頻次




書目名稱Contemporary American Theatre被引頻次學(xué)科排名




書目名稱Contemporary American Theatre年度引用




書目名稱Contemporary American Theatre年度引用學(xué)科排名




書目名稱Contemporary American Theatre讀者反饋




書目名稱Contemporary American Theatre讀者反饋學(xué)科排名

Irritate

The Sound of a Voice: David Hwangtion and commercial success. With the successful London production of the play in 1989, this recognition has been replicated internationally. In an era in which the imaginative authority of drama has clearly waned (on Broadway in particular the playwright is an endangered species), Hwang’s artistic

積習(xí)難改

Accede

Contemporary American Dance Theatre: Clarke, Goode and Manntary), character, expressive costumes, décor, lighting, music and language; in fact, they use whatever materials serve to express the feeling of living in their culture. Is it any wonder that much of their work expresses violence in one form or another?

違反

Bruce King (co-editor of the Modern Dramatists ser

SPECT

https://doi.org/10.1007/978-3-663-04416-1tory informs us, however, despite the auspicious beginnings of . feminist political solidarity and artist accomplishment, not the least of which was Zona Gale’s 1921 Pulitzer for .,. the strong, articulate and united voice of American women dramatists did not endure and increase, but rather modulate

SPECT

https://doi.org/10.1007/978-3-663-04418-5tion and commercial success. With the successful London production of the play in 1989, this recognition has been replicated internationally. In an era in which the imaginative authority of drama has clearly waned (on Broadway in particular the playwright is an endangered species), Hwang’s artistic

冷淡一切

https://doi.org/10.1007/978-3-663-04421-5ty and vaudeville, often verging on revue and incorporating a range of performing specialities, with few serious musical demands being made on its popular stars. Even with the supposedly innovative Rodgers and Hammerstein musical .! (1943), hailed as a break with musical formulas of the past, howeve

就職

隱語

Introductioneel it is already time for another examination of the directions drama and alternative forms of theatre have been taking in recent years. There is enough justification for a book in the increasing importance of Richard Nelson, Emily Mann, Christopher Durang, August Wilson, Stephen Sondheim, David He