Sprache: Englisch
Verlag: Cambridge University Press, 2006
ISBN 10: 0521617561 ISBN 13: 9780521617567
Anbieter: WorldofBooks, Goring-By-Sea, WS, Vereinigtes Königreich
EUR 46,88
Anzahl: 1 verfügbar
In den WarenkorbPaperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
Sprache: Englisch
Verlag: Cambridge University Press, 2006
ISBN 10: 0521617561 ISBN 13: 9780521617567
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes Königreich
EUR 57,66
Anzahl: Mehr als 20 verfügbar
In den WarenkorbZustand: New. In.
Sprache: Englisch
Verlag: Cambridge University Press, 2006
ISBN 10: 0521617561 ISBN 13: 9780521617567
Anbieter: Kennys Bookstore, Olney, MD, USA
Zustand: New. This study looks into the things which go wrong on the theatre stage. Series Editor(s): Davis, Tracy C. Series: Theatre and Performance Theory. Num Pages: 206 pages, black & white illustrations. BIC Classification: AN. Category: (P) Professional & Vocational; (U) Tertiary Education (US: College). Dimension: 218 x 140 x 19. Weight in Grams: 282. . 2006. paperback. . . . . Books ship from the US and Ireland.
Sprache: Englisch
Verlag: Cambridge University Press, 2006
ISBN 10: 0521617561 ISBN 13: 9780521617567
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Why do actors get stage fright What is so embarrassing about joining in Why not work with animals and children, and why is it so hard not to collapse into helpless laughter when things go wrong In trying to answer these questions - usually ignored by theatre scholarship but of enduring interest to theatre professionals and audiences alike - Nicholas Ridout attempts to explain the relationship between these apparently unwanted and anomalous phenomena and the wider social and political meanings of the modern theatre. This book focuses on the theatrical encounter - those events in which actor and audience come face to face in a strangely compromised and alienated intimacy - arguing that the modern theatre has become a place where we entertain ourselves by experimenting with our feelings about work, social relations and about feelings themselves.