Zobrazeno 1 - 10
of 68
pro vyhledávání: '"Ralph Yarrow"'
Publikováno v:
University of Bucharest Review. Literary and Cultural Studies Series, Vol III/2013, Iss 2 (2022)
Our aim in constructing our keynote events was to present a spectrum of approaches to the conjunction of performance and ecology, to give some account of what has been done in writing and in practice. We also wanted to demonstrate in our methodology
Externí odkaz:
https://doaj.org/article/81e80df23ca6475b80f4f0243a2e3857
Autor:
Ralph Yarrow
Publikováno v:
Journal of European Studies. 52:150-153
Autor:
Ralph Yarrow
Publikováno v:
Jana Sanskriti
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::b43edb64e722bf6c2058f98a1dcee7c2
https://doi.org/10.4324/9780429288753-2
https://doi.org/10.4324/9780429288753-2
Autor:
Ralph Yarrow
Regarded by Augusto Boal as the international icon of his vision, Jana Sanskriti are the leading practitioners of Theatre of the Oppressed and Forum Theatre in India and the East. The group has worked continuously with rural communities in West Benga
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::b357555b81b647c953f1cd7298f02052
https://doi.org/10.4324/9780429288753
https://doi.org/10.4324/9780429288753
Autor:
Ralph Yarrow
Publikováno v:
Jana Sanskriti
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::f7abad3013429710960d72a12223d0c9
https://doi.org/10.4324/9780429288753-3
https://doi.org/10.4324/9780429288753-3
Autor:
Ralph Yarrow
Publikováno v:
Journal of European Studies. 48:358-361
Autor:
Ralph Yarrow
Publikováno v:
Journal of European Studies. 48:192-196
Autor:
Ralph Yarrow
Regarded by Augusto Boal as the international icon of his vision, Jana Sanskriti are the leading practitioners of Theatre of the Oppressed and Forum Theatre in India and the East.The group has worked continuously with rural communities in West Bengal
Autor:
Ralph Yarrow
Publikováno v:
Indian Theatre Journal. 1:147-156
My aim in this article is to frame Brook more clearly against historical parameters that affected the understanding and practice of theatre from the 1960s and to reassess to what extent his multiculturalism looks different from a twenty-first-century