Introduction
In contemporary theatre it seems that things are no longer in the margins but at the center of the stage. Contemporary dramaturgies’ concern with the notion of identity, their sustained experimentations with and questioning of the traditional definition of the theatrical character have led to a ren...
Guardado en:
| Publicado en: | URI:https://journals.openedition.org/ebc, |
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| Autores principales: | , |
| Formato: | Article ou chapitre numérique |
| Lenguaje: | Anglais |
| Publicado: |
Études britanniques contemporaines
2019
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| Acceso en línea: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumario: | In contemporary theatre it seems that things are no longer in the margins but at the center of the stage. Contemporary dramaturgies’ concern with the notion of identity, their sustained experimentations with and questioning of the traditional definition of the theatrical character have led to a renegotiation of the relationship between the animate and inanimate on the stage, and to a major re-appraisal of the role of things. While the autonomy and even integrity of the theatrical character i... |
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