Kirsten Hastrup: Theatre’s Space. An Analysis of the Stage in the World of Shakespeare In this article it is suggested that historically and structurally, Shakespeare’s theatre belongs to a liminal space, on the threshold of the city, and of order. This position makes it possible for the theatre to incorporate the contradictions of society. The stage itself is an empty space, ready to be impregnated by the imagination of both players and audience. The nature of illusion on stage is discussed, and it is argued that on stage the distinction between illusion and reality dissolves. Theatre, on the whole, is a “site of passage” where one is transported between worlds, equally real and powerful
i Shakespeare's >>Som man behager<<, >>Stormen<< og >>Pericles<<
Denne artikkelen viser gjennom en rekke oppsetninger av Gengangere på Den Nationale Scene hvordan te...
The article deals with the relationship between actors/singers and spectators in mediatized versions...
Exploring theatricality as a concept of difference, Erik Exe Christoffersen shows how theatricality ...
This article presents an overview of different bodies of research in the field of theatre science. A...
Eyes (excerpt from the manuscript)Eyes was a theatre performance at Momentum Theatre in Odense that ...
In the article »The Resurgent Theatre-Machine« Arntzen points out a paradox in the relationship betw...
The concept of person derives from latin persona, originally referring to the ritual or dramatic mas...
Ur-Hamlet er baseret på Saxo Grammaticus’ historie Vita Amlethi fra Gesta Danorum (ca. 1200), et råt...
Hustvedt analyses and discusses two different theatre pedagogical strategies for the staging of so c...
In her analysis of Molière’s play L’Impromptu de Versailles from 1663, Annelis Kuhlmann explores the...
Theatre, Time, and Tendencies Contemporary reflections on historical accounts of performing arts in ...
When describing a cultural field sociologically, it is essential to know the identity of the actors ...
Manuskript: William Shakespeare. Iscenesættelse og bearbejdning: Tue Biering. Dramaturg: Mathias Ros...
Large guest performances featured by a small company. The story of Theatre TrafficIn 1976 Per Moth f...
i Shakespeare's >>Som man behager<<, >>Stormen<< og >>Pericles<<
Denne artikkelen viser gjennom en rekke oppsetninger av Gengangere på Den Nationale Scene hvordan te...
The article deals with the relationship between actors/singers and spectators in mediatized versions...
Exploring theatricality as a concept of difference, Erik Exe Christoffersen shows how theatricality ...
This article presents an overview of different bodies of research in the field of theatre science. A...
Eyes (excerpt from the manuscript)Eyes was a theatre performance at Momentum Theatre in Odense that ...
In the article »The Resurgent Theatre-Machine« Arntzen points out a paradox in the relationship betw...
The concept of person derives from latin persona, originally referring to the ritual or dramatic mas...
Ur-Hamlet er baseret på Saxo Grammaticus’ historie Vita Amlethi fra Gesta Danorum (ca. 1200), et råt...
Hustvedt analyses and discusses two different theatre pedagogical strategies for the staging of so c...
In her analysis of Molière’s play L’Impromptu de Versailles from 1663, Annelis Kuhlmann explores the...
Theatre, Time, and Tendencies Contemporary reflections on historical accounts of performing arts in ...
When describing a cultural field sociologically, it is essential to know the identity of the actors ...
Manuskript: William Shakespeare. Iscenesættelse og bearbejdning: Tue Biering. Dramaturg: Mathias Ros...
Large guest performances featured by a small company. The story of Theatre TrafficIn 1976 Per Moth f...
i Shakespeare's >>Som man behager<<, >>Stormen<< og >>Pericles<<
Denne artikkelen viser gjennom en rekke oppsetninger av Gengangere på Den Nationale Scene hvordan te...
The article deals with the relationship between actors/singers and spectators in mediatized versions...