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[null,"1.","Record Nr.",null,"UNINA9910791963403321"]
[null,null,"Titolo",null,"The prop's the thing [[electronic resource] ] : stage properties reconsidered"]
[null,null,"Pubbl/distr/stampa",null,"Tuscaloosa, Ala., : Southeastern Theatre Conference and the University of Alabama Press, 2010"]
[null,null,"ISBN",null,"0-8173-8481-2"]
[null,null,"Descrizione fisica",null,"1 online resource (152 p.)"]
[null,null,"Collana",null,"Theatre symposium : a publication of the Southeastern Theatre Conference ; ; v. 18"]
[null,null,"Disciplina",null,"792.05"]
[{"$nulls":4},"792/.05"]
[null,null,"Soggetti",null,"Stage props"]
[{"$nulls":4},"Theater"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references."]
[null,null,"Nota di contenuto",null,"Contents; Introduction; Through the Eyes of the Property Director; \"Summon up the Blood\": The Stylized (or Sticky) Stuff of Violence in Three Plays by Sarah Kane; Helen's Theatrical Mêchanê: Props and Costumes in Euripides' Helen; A Cannonade of Weapons: Signs of Transgression in the Early Commedia dell'arte; Adding Some \"PEP\" (\"Proto-Expressionistic Props\") to the Swedish Stage: Strindberg's Property Usage and His Intima Teater; Rattle Away at Your Bin: Women, Community, and Bin Lids in Northern Irish Drama; Bearing Witness: The Noose as an Iconic Prop in African American Theatre"]
[{"$nulls":4},"Hawaiian Culture Propped High with Meaning: The Lei Hoaka in Victoria Nalani Kneubuhl's EmmalehuaRevisiting Eva Marie Saint's White Glove: On Props, Neurons, Subtext, and Empathy; From Props to Affordances: An Ecological Approachto Theatrical Objects; \"Take up the Bodies\": Shakespeare's Body Parts, Babies, and Corpses; Contributors"]
[null,null,null,"Sommario/riassunto","Stage properties are an often-ignored aspect of theatrical  productions, in part because their usage is meant to be seamlessly  integrated into the performance instead of a focal point for the  audience. However, a skillfully used prop can augment the action, just  as a malfunctioning prop can destroy the illusion of the scene. The  essays in \"Theatre Symposium: Volume 18\" approach the subject of stage  props from many angles, and include examinations of props in  contemporary and historical productions, explorations of the cultural  significance of specific props, and arguments about the"]