Laurence Senelick – författare
1 713 kr
Skickas inom 5-8 vardagar
1 052 kr
Skickas inom 10-15 vardagar
1 052 kr
Skickas inom 10-15 vardagar
239 kr
Skickas inom 5-8 vardagar
2 215 kr
Skickas inom 10-15 vardagar
662 kr
Skickas inom 10-15 vardagar
2 474 kr
Skickas inom 10-15 vardagar
660 kr
Skickas inom 10-15 vardagar
2 797 kr
Skickas inom 10-15 vardagar
624 kr
Skickas inom 10-15 vardagar
2 215 kr
Skickas inom 10-15 vardagar
577 kr
Skickas inom 10-15 vardagar
819 kr
Skickas inom 7-10 vardagar
2 291 kr
Skickas inom 7-10 vardagar
729 kr
Skickas inom 7-10 vardagar
1 638 kr
Skickas inom 7-10 vardagar
407 kr
Skickas
791 kr
Skickas inom 10-15 vardagar
185 kr
Skickas inom 5-8 vardagar
2 012 kr
Kommande
542 kr
Skickas inom 7-10 vardagar
2 669 kr
Skickas inom 10-15 vardagar
1 018 kr
Skickas inom 3-6 vardagar
710 kr
Skickas inom 3-6 vardagar
1 284 kr
Skickas inom 5-8 vardagar
570 kr
Skickas inom 3-6 vardagar
625 kr
Skickas inom 10-15 vardagar
150 kr
Tillfälligt slut
453 kr
Tillfälligt slut
It is a book about dying, or, more accurately, about the representation of dying in the theatre. Its chief concern is how actors undertook to translate words and concepts into forms legible and significant to an audience. It deals with the ways in which playwrights wrote about death and attitudes towards death in their cultures. Nevertheless, the emphasis is on the practice of acting. This “death spectacle” runs the gamut. From the Greek tragic stage which was highly selective in determining which deaths it (re)enacted to the elaborately stylized murders and suicides in the Kabuki to the lavish blood-letting of the Elizabethans to the deathbed visitations of the modern era, what was acceptable and/or enjoyable fluctuates wildly.
453 kr
Tillfälligt slut
It is a book about dying, or, more accurately, about the representation of dying in the theatre. Its chief concern is how actors undertook to translate words and concepts into forms legible and significant to an audience. It deals with the ways in which playwrights wrote about death and attitudes towards death in their cultures. Nevertheless, the emphasis is on the practice of acting. This “death spectacle” runs the gamut. From the Greek tragic stage which was highly selective in determining which deaths it (re)enacted to the elaborately stylized murders and suicides in the Kabuki to the lavish blood-letting of the Elizabethans to the deathbed visitations of the modern era, what was acceptable and/or enjoyable fluctuates wildly.