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Kačer, Tomáš, Příhodová, Barbora. Editorial. Theatralia. 2014, vol. 17, iss. 2, pp. 5–6.

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Sakellaridou, Elizabeth. Phenomenological aspects of the Prague School theatre theory. Theatralia. 2014, vol. 17, iss. 2, pp. 162–171.

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Satková, Naďa. "Theatrology at a crossroads": notes from a conference. Theatralia. 2014, vol. 17, iss. 2, pp. 247–249.

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Bernátek, Martin. The Prague Linguistic Circle and the Prager Presse : a remark on the science in interwar Czechoslovakia. Theatralia. 2014, vol. 17, iss. 2, pp. 175–187.

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[Contents of the section Events]. Theatralia. 2014, vol. 17, iss. 2, pp. 245–246.

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Drábek, Pavel. Hastábhinaja: gesta rukou v tradičním divadelním umění Indie. Theatralia. 2014, vol. 17, iss. 2, pp. 225–226.

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[Contents of the section Orientation]. Theatralia. 2014, vol. 17, iss. 2, pp. 223–224.

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Majcen Linn, Olga. The chronotopical overview of Croatian performance art. Theatralia. 2014, vol. 17, iss. 2, pp. 233–237.

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Pšenička, Martin. Otakar Zich's invisible actors and creative minds. Theatralia. 2014, vol. 17, iss. 2, pp. 71–80.

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Sládek, Ondřej. Jan Mukařovský and theatre. Theatralia. 2014, vol. 17, iss. 2, pp. 122–136.

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Volceanov, George. Shakespeare on the page in Romania: before and after 1989. Theatralia. 2021, vol. 24, iss. Special Issue, pp. 33–46.

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Almási, Zsolt, Földváry, Kinga. Introduction. Theatralia. 2021, vol. 24, iss. Special Issue, pp. 7–13.

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Wild, Jana. Macbeth, petty bourgeois. Theatralia. 2021, vol. 24, iss. Special Issue, pp. 209–221.

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Mišterová, Ivona. Mission (im)possible? Cross-gendered Shakespeare on Czech stages after 1989. Theatralia. 2021, vol. 24, iss. Special Issue, pp. 171–185.

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Cinpoeş, Nicoleta. Shakestivalling' in the New Europe. Theatralia. 2021, vol. 24, iss. Special Issue, pp. 83–101.

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Havlíčková Kysová, Šárka. Singing in the blend: stagings of Verdi's operatic Shakespeare in the Czech Republic after 1989. Theatralia. 2021, vol. 24, iss. Special Issue, pp. 189–208.

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Müller, Péter. Institutional structure, social function, and the Shakespeare repertoire in Hungary after 1989–1990. Theatralia. 2021, vol. 24, iss. Special Issue, pp. 47–64.

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Revermann, Martin. Beckett and the theatrical sign : the need for semiotics. Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 9–22.

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Jovanovic, Nenad. The medium (non-) specific : Rope, Dogville, and Mukařovský's space-as-meaning. Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 96–108.

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Pontieri, Laura. Animate, inanimate and beyond in Švankmajer's Faust (1994). Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 83–95.

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Šlaisová, Eva. Performing cathedral : Le Ballet des Ombres Heureuses as a case of multiple foregrounding. Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 122–139.

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Schmid, Herta. Realism and abstractionism in Otakar Zich's Theory of dramatic art and Samuel Beckett's experimental dramatics. Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 23–38.

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Jestrović, Silvija. Stage life and stage death (after Veltruský). Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 59–71.

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Revermann, Martin. Editorial note. Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 7–8.

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Meerzon, Yana. On men and objects : staging the divided subjectivity of displacement in zero degrees. Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 109–121.

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Pérez-Simón, Andrés. Intertextuality and autonomous fictional worlds in Disney : the case of Moana (2016). Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 72–82.

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Ambros, Veronika, Switzky, Lawrence. "Hungry for interpretation" : Woyzeck on the Highveld and the polyphony of performance. Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 39–58.