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Abstract only
Pavel Drábek and M. A. Katritzky

different sorts of performative manifestations, and by contemplating ( theor-ising ) them, portrays the multiplicity of forms and shapes theatre could assume, before later eras compartmentalised and institutionalised them within specific, fixed architectural and social spaces. Nonetheless, our inclusive notion of theatre is narrowed down by a specific agenda: we study theatre as a connective instrument

in Transnational connections in early modern theatre
Five minutes to midnight and All’s Well
Richard Hillman

course, by a self-appointed wall-flower at the comic cotillion. As Jaques’ case confirms, such a sense of tragic subjectivity remains intrinsically individualizing, an expression of amputation from the social body. By contrast, the social bonds and structures typical of comic play-worlds, whatever resistance they may initially oppose to individual initiative – the pursuit of

in French reflections in the Shakespearean tragic