The Limits of Film within the Limits of Theatre, in Two Example.s: Spectacular identities from the Communist and present era.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 135, doi. 10.35218/tco.2022.12.2.15
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- Article
Works matching IS 15844927 AND DT 2022 AND VI 12 AND IP 2
Results: 19
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Execution of plies – basis of classical dance technique.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 127, doi. 10.35218/tco.2022.12.2.14
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- Article
3
The actor's dramaturgy: identity, freedom, and discipline.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 173, doi. 10.35218/tco.2022.12.2.18
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- Article
4
Multiple Spectacular Identities or about variations of artistic forms on the same subject.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 157, doi. 10.35218/tco.2022.12.2.17
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- Article
5
Specific training methods in the art of classical dance.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 145, doi. 10.35218/tco.2022.12.2.16
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- Article
6
About theatre with love.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 182, doi. 10.35218/tco.2022.12.2.19
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- Article
7
“Bonjour, bourgeois” or undermining the realist convention in The Greek Weird Wave.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 121, doi. 10.35218/tco.2022.12.2.13
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- Article
8
The importance of meaning in the act of creation.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 110, doi. 10.35218/tco.2022.12.2.12
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- Article
9
Music – main character in theatre productions.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 103, doi. 10.35218/tco.2022.12.2.11
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- Article
10
The Opera Libretto – Adaptation of A Canonical Literary Text, The Opera O Noapte furtunoasă by Paul Constantinescu.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 91, doi. 10.35218/tco.2022.12.2.10
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- Article
11
Identity from a Theatrical Perspective.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 78, doi. 10.35218/tco.2022.12.2.09
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- Article
12
The festival - the mark of the city's cultural identity in the context of urban marketing.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 68, doi. 10.35218/tco.2022.12.2.08
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- Article
13
Maeterlinck’s Poetic Symbolism in Trei piese triste (Three Sad Plays).
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 61, doi. 10.35218/tco.2022.12.2.07
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- Article
14
Female image from Euripides to Churchill.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 53, doi. 10.35218/tco.2022.12.2.06
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- Article
15
”Theatre should be free, like air or love”. Joan Littlewood and the imperative of collective creation.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 37, doi. 10.35218/tco.2022.12.2.05
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- Article
16
Creative Profile Outline.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 30, doi. 10.35218/tco.2022.12.2.04
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- Article
17
Diversity in universality.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 12, doi. 10.35218/tco.2022.12.2.02
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- Article
18
Scenic aesthetics in Belgium: history of emancipation.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 2, doi. 10.35218/tco.2022.12.2.01
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- Article
19
On pedagogy: between mark/model and the broken mirror.
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- Theatrical Colloquia, 2022, v. 12, n. 2, p. 21, doi. 10.35218/tco.2022.12.2.03
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- Article