Bibliografie tematiche / European theatre

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Letteratura scientifica selezionata sul tema "European theatre"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 25 luglio 2025

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Articoli di riviste sul tema "European theatre"

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Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.

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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for
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Platelle, Fanny. "Le théâtre populaire viennois des XVIIIe et XIXe siècles, entre marges et centre(s)." Austriaca 81, no. 1 (2015): 17–35. http://dx.doi.org/10.3406/austr.2015.1193.

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The Viennese Folk Theatre in the 18th and 19th centuries : between periphery and centre For a long time, Viennese Folk Theatre was regarded as a regional and minor genre relegated to the margins of legitimate theatre. By underlying the many exchanges between Folk Theatre and European theatre (and literature in general) of the 18th and particularly 19th centuries, this paper demonstrates how the main suburban stages (the Leopoldstädter Theater, then the Carltheater, and the Theater an der Wien) made of Vienna in the 19th century an European centre for vaudeville and operetta, alongside Paris, L
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Habel, Ivan. "Implementing Agreements." Canadian Theatre Review 123 (June 2005): 11–14. http://dx.doi.org/10.3138/ctr.123.003.

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In discussing working conditions in the professional theatre in Canada, it is important to understand the diversity of practices that exist in the theatre community. Theatre is produced using a range of models, including the conventional model of a play mounted by a company; but theatre can be created by collectives or by an individual. The theatre, also, no longer reflects just the Anglo-American tradition of drama but has expanded to reflect the storytelling, physical and visual traditions of theatrical practice derived largely from outside the European tradition. This expansion in the metho
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SHESHKEN, Alla. "VAGAPOVA N.M. THREE RUSSIAN DIRECTORS IN EUROPE. UNREAD PAGES IN THE HISTORY OF RUSSIAN ÉMIGRÉ THEATRE: 1920S-1960S. MOSCOW: GOSUDARSTVENNYJ INSTITUT ISKUSSTVOZNANIYA, 2002. 379 P." Lomonosov Journal of Philology, no. 6, 2023 (December 17, 2023): 200–205. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-06-18.

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The review presents a monograph by Natalia Vagapova, a well-known domestic theatre critic, slavist and translator, dedicated to the contribution of Russian emigration to European culture. This study, based on unique factual and archival material, gives a deep and objective idea about fruitful influence that reprsentatives of Russian theatre school exerted on the development of Bulgarian and Yugoslavian Theatres. The most outstanding directors who left Russia - Nikolai Massalitinov, Petr Sharov, Yuriy Rakitin - spread the experience of Moscow Art Theatre and the system of Stanislavsky, and made
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Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing t
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Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing t
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Mercer, Wendy S., and Elizabeth Woodrough. "Women in European Theatre." Modern Language Review 92, no. 4 (1997): 985. http://dx.doi.org/10.2307/3734266.

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Nikolić, Sanela. "The opera question in Belgrade as 'staged' by Milan Grol." New Sound, no. 43-1 (2014): 107–22. http://dx.doi.org/10.5937/newso1443107n.

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Writer, politician, and dramaturge Milan Grol can be credited with the most important contribution of an individual to the modernization of the National Theatre in Belgrade. A reformer, legislator, organizer of international theatre cooperation, and manager of the National Theatre, he also played a key role in defining 'the opera question' in Belgrade during the first two decades of the 20th century. Commendable as his activities were in terms of the institutional organization and advancement of South Slavic theatres, it must also be noted that owing to his unfavorable attitude towards the per
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Decheva, Violeta. "Theatre in the Digital World. The Experiment of Theater Treffen 2020." Sledva : Journal for University Culture, no. 41 (August 19, 2020): 8–17. http://dx.doi.org/10.33919/sledva.20.41.2.

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An overview and analysis of Berliner Theater Treffen 2020. Existing already for 56 years, this major European theatre festival and the most representative one for the Germanspeaking world ventured on its first online edition. COVID-19 situation has not only activated the ongoing discussions on the influence of digital technologies on theatre, but has made it a most urgent topic. It has become central because of the isolation, the sudden flood of streamings of concerts, performances, films, etc. Two topics seem especially important in the festival context. First, how to make theatre in a digita
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Pukelytė, Ina. "Reconstructing a Nomadic Network: Itineraries of Jewish Actors during the First Lithuanian Independence." Nordic Theatre Studies 27, no. 1 (2015): 78. http://dx.doi.org/10.7146/nts.v27i1.24241.

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This article discusses the phenomenon of openness and its nomadic nature in the activities of Jewish actors performing in Kaunas during the first Lithuanian independence. Jewish theatre between the two world wars had an active and intense life in Kaunas. Two to four independent theatres existed at one time and international stars were often touring in Lithuania. Nevertheless, Lithuanian Jewish theatre life was never regarded by Lithuanian or European theatre society as significant since Jewish theatre never had sufficient ambition and resources to become such. On the one hand, Jewish theatre o
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Tesi sul tema "European theatre"

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Salazar-Sutil, Nicolas. "Theatres of the Surd : a study of mathematical influences in European avant-garde theatre." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4754/.

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This doctoral dissertation deals with the somewhat neglected relationship between mathematics and theatre. Specifically, the focus of this study is the penetration of modern mathematical thinking into European avant-garde theatre during the late 19th and early 20th century, particularly as regards the revolutionary experiments on scenic space and dramatic logic that occurred at the time. I will argue that modern European theatre underwent a period of crisis, whereby a number of avant-garde practitioners renounced the axioms of traditional theatre, particularly in relationship to the rule of mi
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Bucciarelli, Melania. "Italian opera and European theatre, 1680-1720 : plots, performers, dramaturgies." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/italian-opera-and-european-theatre-16801720--plots-performers-dramaturgies(c1235462-b549-497d-aff7-34b0658ea912).html.

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Brown, Mark. "Modern Scottish theatre : the creation of a tradition." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/c8c2bf08-f3ad-470a-933e-613725aefddf.

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Scotland has enjoyed a late and significant flowering of theatre since the late 1960s. This project explores what I believe to have been a Renaissance that has occurred in Scottish theatre since 1969 and tests my thesis that at the core of this revival lie profound connections to the related concepts of Europeanness and Modernism. The work combines a considerable quantity of new material, generated through exclusive interviews conducted with major players in this Renaissance (both theatre directors and dramatists), with my own analyses and interaction with the existing critical and academic li
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Mur, Maria-Christina [Verfasser]. "The Physiognomical Discourse and European Theatre : Theory, Performance, Dramatic Text / Maria-Christina Mur." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1136247696/34.

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Chamberlain, Franc. "Embodying the spirit : Nihilism and spiritual renovation in the European theatre (1890-1914)." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317568.

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Street, Anna. "Comedy of the Impossible : The Power of Play in Post-war European Theatre." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040179.

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En retraçant le développement des théories de la comédie dans la philosophie occidentale, cette thèse avance que des préjugés l’ont empêchée d’être reconnue comme un genre littéraire sérieux. Il est montré que la place donnée à la comédie comme genre mineur pendant plus de deux mille ans correspond à un modèle éthique qui affirme, en distinguant le réel de l'Idéal, une vision néo-platonicienne de l'existence. Partant de l’analyse d’un phénomène théâtral précis dans l’Europe de l’après-guerre et à travers de nombreux exemples choisis parmi des pièces de cinq dramaturges différents, cette thèse
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Bocianowski, Cécile. "Les dramaturgies du grotesque en Europe au XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040066.

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La thèse propose une lecture comparée de l’emploi du grotesque dans les théâtres français, polonais, belge francophone, germanophone, italien et espagnol. L’analyse comparée des écritures dramatiques comme du discours littéraire permet de dégager les spécificités du grotesque et de sa réception dans les diverses aires culturelles. La première partie est consacrée à la mise en place théorique de la notion dans les arts, des arts décoratifs à l’art dramatique, de la Renaissance au vingtième siècle. Une attention particulière est portée à la danse grotesque, jusque-là peu étudiée, ainsi qu’aux di
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Fearon, Fiona Kavanagh. "The Selection, Production and Reception of European Plays at the National Theatre of Great Britain from 1963-1997." Thesis, University of Sheffield, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486716.

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This research presents a diachronic and synchronic analysis of European plays produced at the National from 1963 to 1997 and seeks to situate their selection, production and reception within the socio-cultural context of Britain's changing relationship with the representation of Europe during that time, Building on the theoretical understanding of the selection, production and reception process suggested by Stanley Fish, Jauss, Susan Bennett and Maria Shevtsova, this thesis evaluates the relationship between the 'interpretive community' of the producers, critics and audiences of the National T
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Halfyard, Janet Katherine. "Only connect : European music theatre in the context of Wagner's Gesamtkunstwerk and the early twentieth-century avant-garde." Thesis, University of Birmingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397944.

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Dawood, Rasha Ahmed Khairy Hafez. "Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.

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This thesis closely examines the utilisation of dramatic characters’ comments on matters of literary and theatrical criticism. This phenomenon shaped a trend in European theatre during the first half of the twentieth century, and Egyptian theatre in the second half of the century. My main hypotheses are, firstly, that dramatic characters’ comments on literary and theatrical matters of criticism respond to specific problems that challenge theatre practice. Thus, my reading of literary and theatrical criticism within the dramatic texts studied in my thesis focuses on this criticism’s reformative
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Libri sul tema "European theatre"

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Edited by Delgado, Maria M., and Dan Rebellato. Contemporary European Theatre Directors. Edited by Maria M. Delgado and Dan Rebellato. Routledge, 2020. http://dx.doi.org/10.4324/9780429400285.

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Elizabeth, Woodrough, ed. Women in European theatre. Intellect Books, 1995.

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Edelman, Joshua, Attila Szabó, Hedi-Liis Toome, Marline Lisette Wilders, and Antine Zijlstra. Studying European Theatre Audiences. Routledge, 2025. https://doi.org/10.4324/9781003205524.

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Prentki, Tim. The Fool in European Theatre. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230357501.

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Wien, Don Juan Archiv, ed. Ottoman Empire and European theatre. Hollitzer, 2013.

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Lee, Briant Hamor. European post-Baroque neoclassical theatre architecture. E. Mellen Press, 1996.

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Fischer-Lichte, Erika. History of European Drama and Theatre. Taylor & Francis Inc, 2004.

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Raybin, Emert Phyllis, ed. World War II: The European theatre. Discovery Enterprises, 1997.

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Fischer-Lichte, Erika. History of European drama and theatre. Routledge, 2002.

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Fischer-Lichte, Erika. History of European drama and theatre. Routledge, 2001.

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Capitoli di libri sul tema "European theatre"

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Evans, Mark. "European physical theatre." In The Routledge Companion to Contemporary European Theatre and Performance. Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-65.

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Czirak, Adam. "Community theatre/participatory theatre." In The Routledge Companion to Contemporary European Theatre and Performance. Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-80.

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Ybarra, Patricia, Tobin Nellhaus, Bruce McConachie, and Tamara Underiner. "European absolutisms and performance, 1600–1770." In Theatre Histories, 4th ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003185185-9.

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Schumacher, Claude. "Arrabal’s Theatre of Liberation." In Twentieth-Century European Drama. Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23073-0_9.

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Toome, Hedi-Liis. "The Supply of Theatre." In Studying European Theatre Audiences. Routledge, 2025. https://doi.org/10.4324/9781003205524-6.

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Weber-Kapusta, Danijela. "Migration and the Expansion of German-Language Theatre in the Habsburg Monarchy: Reflecting on Internal Colonisation and Cultural Assimilation." In European Theatre Migrants in the Age of Empire. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-69836-1_8.

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AbstractThis chapter deals with cultural asymmetries and hierarchies between the dominant German-language theatre and the national theatres in the Habsburg Monarchy in the nineteenth century. The central aim is to show the key role of German-speaking theatre migrants in the establishment of a professional theatre culture in the countries of today’s Eastern and Southeastern Europe. By doing this, the chapter explores the power structures that enabled the transnational establishment of the German-language theatre in linguistically, culturally, and ethnically very heterogeneous Crown Lands of the
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Groot Nibbelink, Liesbeth. "Documentary theatre." In The Routledge Companion to Contemporary European Theatre and Performance. Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-60.

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Çelik, Duygu. "Kilam as Theatre Music in Kurdish Theatre in Turkey." In Music and Sound in European Theatre. Routledge, 2024. http://dx.doi.org/10.4324/9781032678214-7.

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Langewitz, Helena. "At the Interface of ‘Theatre Music’ and ‘Music Theatre’." In Music and Sound in European Theatre. Routledge, 2024. http://dx.doi.org/10.4324/9781032678214-17.

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Zijlstra, Antine. "Qualitative Research on Theatre Audiences." In Studying European Theatre Audiences. Routledge, 2025. https://doi.org/10.4324/9781003205524-11.

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Atti di convegni sul tema "European theatre"

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Weiand, Peter, Kagan Atci, Dominik Schwinn, et al. "Development of a New Fleet Concept for HEMS Operations." In Vertical Flight Society 81st Annual Forum and Technology Display. The Vertical Flight Society, 2025. https://doi.org/10.4050/f-0081-2025-317.

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The subject of this paper is the conceptual development of two new configurations for HEMS Operations as a new fleet concept for the European theater. Previous studies showed an increase of the required flight range for an emergency patient transport. But in conjunction with an average share of less than 30% of the flights actually with the patient. In the most rescue missions an emergency physician is transported to the scene, the patients further transport is conducted on-road by an ambulance. Considering an improved flight performance, the first DLR design study revealed a growth of the max
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Ermicioi, Nina, and Svetlana Tartau. "The means of expression and the essential techniques of the asian theater as components of the performance on the european stage (end of the 20th century - beginning of the 21st century)." In „Cultura şi arta: cercetare, valorificare, promovare”, conferinţă ştiinţifică naţională. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2025. https://doi.org/10.55383/ca2025.10.

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The subject of this article represents the study on the means of expression and essential techniques of the Asian theater which can be found in the performances of Peter Brook, Ariane Mnouchkine, in the dramatic shows of Robert Lepage, as well as in the productions of other theater directors of the late 20th - early 21st centuries. Aiming to intensify the dramatic effect, these directors introduce into the sphere of modern European theater techniques characteristic of Eastern theatre art such as pantomime, mask, ritual, different ways of the actor’s walking on stage, and the use of specific mu
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Oki, Olumide, and Olalekan Olatunji. "The Rebirth of Christian Theatre in Nigeria: The Zion Royal Theatre in Perspective." In The European Conference on Arts & Humanities 2024. The International Academic Forum(IAFOR), 2024. http://dx.doi.org/10.22492/issn.2188-1111.2024.22.

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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.

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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models
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Ermicioi, Nina, and Svetlana Țârțău. "THE EPOCH OF THE ORIENTAL THEATRES DISCOVERY: GORDON CRAIG, VSEVOLOD MEYERHOLD." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.24.

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In Europe, the interest towards the oriental theatre, as the source of the forgotten ideals of ancient civilizations, had been beginning to rise in the first half of the 20th century. Gordon Craig was one of the first theatrical thinkers who had taken a course to the traditions of the East. The experience of the Eastern theatre had become for him a generator of thoughts related to the actor’s liberation from the random nature of emotional outbursts during the acting. Discoveries influenced by the Eastern theatrical practice had been determining the direction of Gordon Craig’s subsequent theatr
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Swiecicki, Klaudiusz. "THEATRE AGAINST NON-HUMAN REALITY A FEW SENTENCES ABOUT THE THEATRE OF THE EIGHTH DAY." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.11.

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The Theatre of the Eighth Day from Poznan has been the phenomenon of the Polish independent theatre. It was founded in 1964 by students of the University of Adam Mickiewicz in Poznan. As the students theatre of poetry, for the first few years it operated under the direction of Tomasz Szymanski. The change of the stage form began two years after the group was founded, when Zbigniew Osinski became involved with him. He brought fascination of the Grotowski's method. The Theatre of the Eighth Day marked their disagreement with the communism reality. Stanislaw Baranczak, one of the most talented po
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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.

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The Karangiozi theatre play has existed for centuries in its various forms and across territories. Initially emanating from the Ottoman regions, it entered Greece several centuries prior, and was popularized during Ottoman occupation of Greece. Structured on a system of multilayered symbolisms, the visuals, performances and narratives in Karangiozi present the lead character, Karangiozi, a poor and benevolent man who is frequently oppressed and beaten for his misdoings. The character must contend with the arrogance and comical approaches of other characters, and must support his family, all wh
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Armelloni, E., L. Saccenti, A. Bevilacqua, et al. "MIMO Technique applied to the Greek Theatre of Tyndari." In 10th Convention of the European Acoustics Association Forum Acusticum 2023. European Acoustics Association, 2022. http://dx.doi.org/10.61782/fa.2023.0672.

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Hawryszkow, P., K. Galik, and M. Bocian. "Synergy of Culture and Civil Engineering – Project "Bridge Builders" Organised by Wroclaw European Capital of Culture." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0364.

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<p>Wrocław in Poland and San Sebastian in Spain were awarded the title “European Capital of Culture 2016”. The project “Bridge Builders” was one of many events organised within the cultural programme organised under this patronage taking place in Wrocław in 2015. For one day 27 bridges were converted into theatre scenes, concert spaces and art studios. Visitors had an opportunity to experience cinematography, dance, theatre, literature, and spatial installations. The project “Bridge Builders” is presented in this paper in many of its offerings. A particular attention is given to the proj
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Petrovic, Dominik, Luka Kicinbaci, Frano Petric, and Zdenko Kovaaic. "Autonomous Robots as Actors in Robotics Theatre - Tribute to the Centenary of R.U.R." In 2019 European Conference on Mobile Robots (ECMR). IEEE, 2019. http://dx.doi.org/10.1109/ecmr.2019.8870908.

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Rapporti di organizzazioni sul tema "European theatre"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Ma
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2

Kelleher, C. M. Offensive versus defensive tradeoffs in the European theater. Office of Scientific and Technical Information (OSTI), 1989. http://dx.doi.org/10.2172/6101007.

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Zubov, Andrey, and Tatiana Novichkova. The East European and Balkan theaters in 1914). Edited by Andrey Zubov, Nikolay Komedchikov, and Aleksandr Khropov. Astrel, 2009. http://dx.doi.org/10.15356/dm2016-01-14-8.

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Zubov, Andrey, and Tatiana Novichkova. The East European and Balkan theaters in 1915. Edited by Andrey Zubov, Nikolay Komedchikov, and Aleksandr Khropov. Astrel, 2009. http://dx.doi.org/10.15356/dm2016-01-19-1.

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Zubov, Andrey, and Tatiana Novichkova. The East European and Balkan theaters in 1916. Edited by Andrey Zubov, Nikolay Komedchikov, and Aleksandr Khropov. Astrel, 2009. http://dx.doi.org/10.15356/dm2016-01-19-2.

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6

Schmidt, Axel, and Frits Verschuur. The European Theater Missile Defense Program - A Field for International Cooperation. Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada397290.

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7

Terstegge, Stephen D. Ballistic Missile Defense in the European Theater: Political, Military and Technical Considerations. Defense Technical Information Center, 2007. http://dx.doi.org/10.21236/ada468576.

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8

Frichtl, Paul J. Limitations of the Conventional Role of the B-1B in the European Theater. Defense Technical Information Center, 1989. http://dx.doi.org/10.21236/ada220571.

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9

Dorsey, Jessica, and Nilza Amaral. Military drones in Europe. Royal Institute of International Affairs, 2021. http://dx.doi.org/10.55317/9781784134556.

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The use of armed drones, particularly to conduct targeted killings outside formal war zones, is highly contentious. In the contemporary context, where conflict has moved beyond the theatres of traditional warfare to take place in undefined battle zones, and is chiefly characterized by counterterrorism and counter-insurgency operations, drone use has brought to the fore critical questions on civilian casualties, the rule of law, secrecy and lack of accountability, among others. This paper has been developed as part of a project focusing on the policy implications for the UK and the EU of the us
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Bushby, Richard. Occasional Paper No 23 - From the Sea: A Comparative Analysis of Amphibious Operations in the Pacific and European Theatres of the Second World War. Australian Army Research Centre, 2024. http://dx.doi.org/10.61451/267508.

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