LEADER 03396nam 2200637Ia 450 001 9910456031903321 005 20200520144314.0 010 $a1-280-47743-1 010 $a9786610477432 010 $a1-84150-878-0 035 $a(CKB)111056487011430 035 $a(EBL)283017 035 $a(OCoLC)476029139 035 $a(SSID)ssj0000081871 035 $a(PQKBManifestationID)11120711 035 $a(PQKBTitleCode)TC0000081871 035 $a(PQKBWorkID)10113416 035 $a(PQKB)10897478 035 $a(MiAaPQ)EBC283017 035 $a(Au-PeEL)EBL283017 035 $a(CaPaEBR)ebr10023467 035 $a(CaONFJC)MIL47743 035 $a(EXLCZ)99111056487011430 100 $a20030304d2003 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aLanguages of theatre shaped by women$b[electronic resource] /$f[edited by] Jane de Gay and Lizbeth Goodman 210 $aBristol, UK ;$aPortland, OR $cIntellect$d2003 215 $a1 online resource (202 p.) 300 $aDescription based upon print version of record. 311 $a1-871516-78-1 320 $aIncludes bibliographical references and index. 327 $aFront Cover; Preliminaries; Contents; List of Illustrations; Notes on Contributors; Introduction: Speaking in Tongues - Making (Sense of) Women's Languages in Theatre; 1 Seizing Speech and Playing with Fire: Greek Mythological Heroines and International Women's Performance; 2 Lear's Daughters on Stage and in Multimedia and Fiona Shaw's King Lear Workshops as Case Studies in Breaking the Frame; 3 Playing (with) Shakespeare: Bryony Lavery's Ophelia and Jane Prendergast's I, Hamlet; 4 Theorizing Practice-Based Research: Performing and Analysing Self in Role as 'I, Hamlet' 327 $a5 Transmitting the Voices, Voyages and Visions: Adapting Virginia Woolf's To the Lighthouse for Radio6 Voicing Identities, Reframing Difference(s): The Case of Fo(u)r Women; Fo(u)r Women; 7 Scratch in the Record; 8 One-to-One: Lone Journeys; 9 Mouth Ghosts: The Taste of the Os-Text; Afterword - Shape-Shifters and Hidden Bodies; Bibliography and Further Reading; Index; Back Cover 330 $aAddressing issues of feminism and representation, this book provides a fresh and thorough consideration of the status and potential of Women's theatre today.The authors explore a range of different approaches to the languages of theatre, including translation and interpretation of the art form, along with languages, performance work, body language and gesture. Considered alongside the related social issues of race, class and dialect, the following questions emerge: What is the role of language in theatre today? Whose language is English; what other languages do women making theatre use? 606 $aWomen in the theater 606 $aFeminist theater 606 $aFeminism and theater 608 $aElectronic books. 615 0$aWomen in the theater. 615 0$aFeminist theater. 615 0$aFeminism and theater. 676 $a418.00285 676 $a792.082 701 $aDe Gay$b Jane$f1966-$0296151 701 $aGoodman$b Lizbeth$f1964-$0165662 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456031903321 996 $aLanguages of theatre shaped by women$91973613 997 $aUNINA LEADER 01415nam 2200385Ia 450 001 996393553103316 005 20200824132246.0 035 $a(CKB)4940000000116512 035 $a(EEBO)2240951340 035 $a(OCoLC)ocm12156552e 035 $a(OCoLC)12156552 035 $a(EXLCZ)994940000000116512 100 $a19850614d1670 uy | 101 0 $aeng 135 $aurbn||||a|bb| 200 14$aThe history of Britain, that part especially now call'd England$b[electronic resource] $efrom the first traditional beginning, continu'd to the Norman conquest /$fcollected out of the antientest and best authours thereof by John Milton 210 $aLondon $cPrinted by J.M. for James Allestry ...$d1670 215 $a[3], 308, [55] p. $cport 300 $aIndex: leaves [1]-[53] at end. 300 $aErrata: p. [55] at end. 300 $aPortrait signed: Gul. Faithorne ad vivum delin. et sculpsit. 300 $aFirst edition. 300 $aReproduction of original in Huntington Library. 330 $aeebo-0113 607 $aGreat Britain$xHistory$yTo 1066 700 $aMilton$b John$f1608-1674.$0308340 701 $aFaithorne$b William$f1616-1691.$01001823 801 0$bEAA 801 1$bEAA 801 2$bm/c 801 2$bWaOLN 906 $aBOOK 912 $a996393553103316 996 $aThe history of Britain, that part especially now call'd England$92400871 997 $aUNISA