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Columbina
The Children of Molemo: an Analysis of Johnny Simons' Performance Genealogy and Iconography at the Hip Pocket Theatre
PLAYNOTES Season: 43 Issue: 04
From Femme Ideale to Femme Fatale: Contexts for the Exotic Archetype In
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Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
Dr. Harlequin, Script
Commedia Dell'arte, Theatre of the Professional
This Work Has Been Submitted to NECTAR, the Northampton Electronic Collection of Theses and Research
An Enquiry Into the Relevance of the Practices of Commedia Dell'arte to Contemporary Feminist Theatre Making
One Man, Two Guvnors by Richard Bean Based on the Servant of Two Masters by Carlo Goldoni, with Songs by Grant Olding Background Pack
Take Me Seriously. Now Laugh at Me! How Gender Influences the Creation of Contemporary Physical Comedy
Miming Modernity: Representations of Pierrot in Fin-De-Siècle France
Towards a Theory of the Anxiety of Ontology
Early Russian Theatre and Commedia Dell'arte
Commedia Dell Arte Stock Characters Modern Examples
Influence Props Improvisation
A Fool's Journey: an Exploration of Physical Comedy in Theory and Practice
Russian Ballet Poetics in Plastic of Minor Forms in Late 19Th – First Third of 20Th Century (To the Problem of World Heritage) Tatiana Portnova*
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Theater History
Gustav Mahler's Third Symphony
No. BOWLING GREEN S
Pantomime Notes Pantomime Defined
Modernist Meanings in the European Renovation of Commedia
Stravinsky: Petrushka, Jeu De Cartes
Eine Kleine Nachtmusik, K 525 the Life and Music of Wolfgang Amadeus Mozart
Michael Frayn
Translating the Unseen in the Twentieth Century Leah Lonsdale Barreras Dickinson College
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An Interrogation of Fantasy Through the Works of Michael Moorcock
Female-Enacted Violence Through Minority American Female Playwrights' Works
The Joker's Cycle
Undressing and Redressing the Harlequin: an Australian Designer's Perspective
Historical Studies Journal 2020
THE SERVANT of TWO MASTERS: Know-The-Show Guide the Servant of Two Masters by Bonnie J
Venetian Mask Characters and Their Origin Sheet One
Tilting the Stage: Adapting to and from the Theatre A