Setting the scene: introducing reverberations
dc.contributor.author | Duggan, Patrick | en |
dc.contributor.author | Ukaegbu, Victor | en |
dc.date.accessioned | 2018-11-15T14:25:00Z | |
dc.date.available | 2018-11-15T14:25:00Z | |
dc.date.issued | 2013-12-31 | |
dc.identifier.citation | Duggan P, Ukaegbu V (2013) 'Setting the scene: introducing reverberations', in Duggan P, Ukaegbu V (ed(s).). Reverberations across small-scale British theatre politics, aesthetics and forms, edn, Bristol: Intellect pp.xi-xxiii. | en |
dc.identifier.isbn | 9781783202973 | |
dc.identifier.uri | http://hdl.handle.net/10547/622964 | |
dc.description.abstract | This chapter reflects on the myriad of cultural, sociopolitical, educational and performance traditions in the United Kingdom from the end of WW2 and the rationale for the types and contexts of practitioners and works researched and interrogated in the volume. From this vast topography the authors debate changes in UK's post-WW2 theatre scene, why some concepts and practices have survived and why some have gone out of business. such a landscape calls for a different reading strategy that is designed to both make sense of the selected pieces of works and companies but which more importantly, extends to how researchers and practitioners might read other works. | |
dc.description.sponsorship | University of Northampton Arts & Humanities Research fund | en |
dc.language.iso | en | en |
dc.publisher | Intellect | en |
dc.relation.url | https://www.intellectbooks.co.uk/books/view-Book,id=5094/ | en |
dc.subject | theatre | en |
dc.title | Setting the scene: introducing reverberations | en |
dc.title.alternative | Reverberations across small-scale British theatre politics, aesthetics and forms | en |
dc.type | Book chapter | en |
dc.date.updated | 2018-11-15T14:17:02Z | |
html.description.abstract | This chapter reflects on the myriad of cultural, sociopolitical, educational and performance traditions in the United Kingdom from the end of WW2 and the rationale for the types and contexts of practitioners and works researched and interrogated in the volume. From this vast topography the authors debate changes in UK's post-WW2 theatre scene, why some concepts and practices have survived and why some have gone out of business. such a landscape calls for a different reading strategy that is designed to both make sense of the selected pieces of works and companies but which more importantly, extends to how researchers and practitioners might read other works. |