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One of a series discussing topics of interest in theatre studies from theoretical, methodological, philosophical and historical perspectives.
Provides an international forum for the discussion of topics of current interest in theatre studies. This issue includes articles on women and theatre in Spain; Sarah Bernhardt in Vaudeville; Giorgio Strehler's 'Faust' project; Deborah Levy in interview; and social space in ancient theatre.
Provides an international forum where theatrical scholarship and practice can meet.
One of a series discussing topics of interest in theatre studies from theoretical, methodological, philosophical and historical perspectives.
One of a series discussing topics of interest in theatre studies from theoretical, methodological, philosophical and historical perspectives.
Provides an international forum where theatrical scholarship and practice can meet to question dramatic assumptions.
Provides an international forum where theatrical scholarship and practice can meet.
New Theatre Quarterly provides a valuable international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.
New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.
This book investigates the role of arts practitioners in cultural policy-making, challenging the perception that arts practitioners have little or no involvement in policy and seeking to discover the extent and form of their engagement. Examining the subject through a case-study of playwriting policy in England since 1945, and paying particular attention to playwrights’ organisations and their history of self-directed activity, the book explores practitioners’ participation in cultural policy-making, encompassing both “invited” and “uninvited” interventions that also weave together policy activity and creative practice. It discusses why their involvement matters, and argues that arts practitioners and their organisations can be understood as participants in civil society whose policy activity contributes to the maintenance and enlargement of democratic practices and values.