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Books on the topic 'Political theatrics'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Irish political prisoners, 1848-1922: Theatres of war. London: Routledge, 2003.

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2

McConville, Seán. Irish political offenders, 1848-1922: Theatres of war. New York: Routledge, 2002.

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3

Ben Jonson's theatrical republics. New York: St. Martin's Press, 1998.

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4

Neoliberalism and global theatres: Performance permutations. New York, NY: Palgrave Macmillan, 2012.

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5

Staging governance: Theatrical imperialism in London, 1770-1800. Baltimore: Johns Hopkins University Press, 2005.

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6

Theatre and war: Theatrical responses since 1991. New York, NY: Palgrave Macmillan, 2012.

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7

Edmunds, Lowell. Theatrical space and historical place in Sophocles' Oedipus at Colonus. Lanham, Md: Rowman & Littlefield Publishers, 1996.

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8

Sauter, Willmar. The theatrical event: Dynamics of performance and perception. Iowa City: University of Iowa Press, 2000.

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9

Ewan, MacColl, and Cosgrove Stuart, eds. Theatres of the left, 1880-1935: Workers' theatre movements in Britain and America. London: Routledge & Kegan Paul, 1985.

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10

Munich and theatrical modernism: Politics, playwriting, and performance, 1890-1914. Cambridge, Mass: Harvard University Press, 1985.

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11

Jones, Anwen. National theatres in context: France, Germany, England and Wales. Cardiff: University of Wales Press, 2007.

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12

Ros, Merkin, and Liverpool John Moores University, eds. Popular theatres?: Papers from the Popular Theatre Conference, Liverpool John Moores University, 1994. Liverpool: Liverpool John Moores University, 1996.

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13

Weyl, Roman. Roman Weyl: Plakate 1948-2001 : Theater, Politik. Berlin: Transit, 2001.

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14

Bozzoli, Belinda. Theatres of struggle and the end of apartheid. Edinburgh: Edinburgh University Press, 2004.

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15

Theatres of struggle and the end of apartheid. Athens, Ohio: Ohio University Press, 2004.

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16

Inc, ebrary, ed. Bringing down the house: The crisis in Britain's regional theatres. Bristol, UK: Intellect, 2008.

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17

Damerius, Helmut. Unter falscher Anschuldigung: 18 Jahre in Taiga und Steepe. Berlin: Aufbau-Verlag, 1990.

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18

Moscow theatres for young people: A cultural history of ideological coercion and artistic innovation, 1917-2000. New York: Palgrave Macmillan, 2006.

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19

Bhaṭṭācārya, Bābalu. Ut̲pala Datta: Rājanīti o thiẏeṭāra. Ḍhākā: Śuddhasvara, 2012.

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20

Kalina, Ján. Odpočúvaj v pokoji, čiže, Basa story. Bratislava: Vydavatel̕stvo PT, 2004.

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21

Andronikov, M. K. (Mark Konstantinovich), 1960-, ed. I︠A︡ prosto shel, ne vedai︠a︡ kuda--: Povestvovanie v pisʹmakh i stikhakh. Sankt-Peterburg: Zhurnal "Zvezda", 2009.

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22

Spectacular politics: Theatrical power and mass culture in early modern England. Baltimore: Johns Hopkins University Press, 1993.

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23

The theatres of war: Performance, politics, and society, 1793-1815. Oxford: Clarendon Press, 1995.

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24

Chekhov, Michael. Pisʹma Mikhaila Chekhova Mstislavu Dobuzhinskomu: Gody emigrat͡s︡ii, 1938-1951. Helsinki: Dept. of Slavonic Languages, University of Helsinki, 1992.

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25

Chekhov, Michael. Pisʹma Mikhaila Chekhova Mstislavu Dobuzhinskomu: Gody emigrat︠s︡ii, 1938-1951. 2nd ed. Sankt-Peterburg: Vsemirnoe slovo, 1994.

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26

Rorrison, Hugh. Erwin Piscator: Politics on the stage in the Weimar Republic. Cambridge, [Cambridgeshire]: Chadwyck-Healey in association with the Consortium for Drama and Media in Higher Education, 1987.

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27

Rorrison, Hugh. Erwin Piscator: Politics on the stage in the Weimar republic. Cambridge: Chadwyck-Healey in association with the Consortium for Drama and Media in Higher Education, 1987.

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28

Schütt, Hans-Dieter. Das halbstarke Lachen: Gespräche mit Gisela Oechelhaeuser. Berlin: Dietz, 1997.

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29

Boal, Augusto. Augusto Boal. [Rio de Janeiro]: Ministério da Cultura, Instituto Nacional de Artes Cênicas, Biblioteca Edmundo Moniz, do CENACEN, 1986.

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30

A portrait of Sheridan. London: Constable, 1985.

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31

Ali͡akhnovich, Frantsishak. U kaptsi͡urokh HPU: Apovestsʹ. Minsk: Mastatskai͡a lit-ra, 1994.

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32

Gies, David Thatcher. Theatre and politics in nineteenth-century Spain: Juan de Grimaldi as impresario and government agent. Cambridge [Cambridgeshire]: Cambridge University Press, 1988.

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33

Haarmann, Hermann. Erwin Piscator und die Schicksale der Berliner Dramaturgie: Nachträge zu einem Kapitel deutscher Theatergeschichte. München: Fink, 1991.

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34

Gökdağ, Ebru. Bir tiyatro devrimcisi, Augusto Boal. Eskişehir: Anadolu Üniversitesi, 2004.

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35

Abreiss-Kalender: Ein deutsch-deutsches Tagebuch. München: Knaur, 1989.

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36

Abreiss-Kalender: Versuch eines Tagebuchs. München: Kindler, 1988.

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37

Klier, Freya. Abreiss-Kalender: Versuch eines Tagebuchs. München: Kindler, 1988.

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38

Teatry polskie w Poznaniu w latach 1850-1875: Repertuary, artystyczne idee, polityczne konteksty = Polish theaters in Poznań in the years 1850-1875 : theatre's repertoires, artistic ideas and political contexts. Poznań: Wydawnictwo Naukowe UAM, 2013.

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39

K, Karasick Dorothy, ed. The oilman's daughter: A biography of Aline Barnsdall. Encino, California: Carleston Pub., 1993.

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40

Papa, mama, i︠a︡ i Stalin: Dokumentalʹnoe povestvovanie. Moskva: Zebra E, 2011.

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41

The life and works of Richard Brinsley Sheridan. Edinburgh: Scottish Academic Press, 1985.

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42

Tibor, Bános. A csárdáskirálynő vendégei. [Budapest]: Cserépfalvi, 1996.

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43

Solberg, Rolf. Alternative theatre in South Africa: Talks with prime movers since the 1970s. Pietermaritzburg: Hadeda Books, 1999.

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44

Peariso, Craig J. Radical Theatrics: Put-Ons, Politics, and the Sixties. University of Washington Press, 2016.

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45

Peariso, Craig J. Radical Theatrics: Put-Ons, Politics, and the Sixties. University of Washington Press, 2014.

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46

Theatres of Opposition. Oxford University Press, 2012.

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47

McConville, Sean. Irish Political Prisoners 1848-1922: Theatres of War. Routledge, 2005.

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48

Consuming People: From Political Economy to Theatres of Consumption. New York, NY, USA: Routledge, 2003.

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49

Russell, Gillian. The Regulation of Theatres. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.16.

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Romantic-period theatre faced long-standing legal constraints on where playhouses could be built, the kind of plays that could be staged, and the social status of actors. This chapter shows how new legislation and historical conditions gradually altered this picture. The impact of the French Revolution and the Revolutionary and Napoleonic Wars created a demand for forms of theatrical entertainment that would mediate the rapidity and scale of cultural and political change, forms for which the ‘illegitimate’ theatres of London were particularly suited. The dominant ‘legitimate’ theatres of Covent Garden and Drury Lane responded to this competition by becoming bigger in scale and developing new, visually spectacular genres such as melodrama and Gothic drama. By the 1820s the two-tier system of legitimate and illegitimate theatres had lost its cultural force and actors were legally recognized as no longer akin to vagrants but as professional artists, analogous to poets and novelists.
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50

National Theatres in Context. University of Wales Press, 2007.

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