Une réécriture amérindienne du théâtre de Shakespeare : Hamlet-le-Malécite by Françoise Besson

“…This Canadian play exposes all the evils afflicting the First Nations today and all the damage caused to their territories for the sake of profit. …”
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“His Comedie unto his Theatre”: Genre in the Early Modern Dramatic Epilogue by Emily Smith

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"I Fregi del Ceppo”: when artificial intelligence and geomatics meet theatre by Pietro Bartolini, Alessandro Conti, Lidia Fiorini, Grazia Tucci

“…Highlights: • The reuse of 3D reality-based digital data in theatre productions supports the cross-valorisation of cultural activities…”
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Lieux et milieux dans le Théâtre de Béziers (XVIIe siècle) by Jean-François Courouau

“…The Theatre of Béziers brings together an ensemble of 24 published plays, performed in Béziers for the festival of Ascension between 1616 and 1647. …”
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Mères et fils dans le théâtre de la Renaissance anglaise by Marie-Hélène Besnault

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Carol Ann Duffy’s Everyman (2015), A Contemporary Morality Play by Esma Seçen Hınıslıoğlu

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L’horreur acoustique musiques « anempathiques » dans le théâtre de Martin Crimp by Aloysia Rousseau

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Bouches béantes et voix blanches dans le théâtre de Howard Barker by Vanasay Khamphommala

“…This paper explores the ambiguous treatment of vocality in the work of Howard Barker, whose theatre appears as an attempt to conjure up the voice of the dead. …”
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HAROLD PINTER: FROM POETICS TO POLITICS by Dilek İNAN

“…Pinter has been a theatrical institution for half a century, he has revolutionised his theatre fay being a conscientious objector in public and a political actiuist since the 1980s. …”
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Traum-A-Rhythmia On Debbie Tucker Green’s In-Yer-Ear Stage by Lea Sawyers

“…Neither straightforwardly spectral, nor entirely anchored in an unambiguous dramatic situation, the subject is approached through stereophony as each spectator is confronted to their feelings of empathy and left to negotiate their own hermeneutic path between solo melodies and choral symphonies, between a highly contextualized understanding of the play, and universal reading of the performance. Paradoxically, debbie tucker green therefore redefines 21st century In-yer-face theatre through absence. …”
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‘What a perennial delight is in hearing the French language spoken!’: Class, Language and Taste in the Maison de Molière’s French Performances in London (1871–1893) by Ignacio Ramos Gay

“…Through an examination of the reviews and impressions published by an array of professionals, including leading theatre critics at the time, dramatists, actors and aficionados, the research analyses the sociological, political, and aesthetic implications associated with the firm presence of the French language and French canonical plays in late Victorian London. …”
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Evaluation of Hafıza-i Saltanat theater play and activities in terms of history teaching by Muhammet Ahmet Tokdemir, Gülin Karabağ, Cemile Açıl

“…The aim of this study is to evaluate the Hafıza-i Saltanat theatre play and activities, which combines evidence-based learning and history-themed theatre, written based on archival documents, in terms of history teaching. …”
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Le vers comme indice d'artificialité dans le théâtre de T.S. Eliot : The Confidential Clerk by Daniel Jean

“…This paper proposes to read the play - irrespective of its author’s prescriptions - as an attempt at underling, by the way of verse as an efficient element of metatheatrical discourse, the very artificiality of theatre.…”
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Quand le théâtre s’inspire du cinéma : Jean Cocteau, Sergueï Eisenstein et Tennessee Williams by Sophie Maruéjouls-Koch

“…Tennessee Williams’s lifelong fascination with cinema left marks on his theatre. The use of projections in The Glass Menagerie and the role played by music in many of his plays are cases in point. …”
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Relaciones hipertextuales en la primera etapa de Rodolf Sirera (1969–1977) by Ramon X. Rosselló

“… In the article titled Hypertextual Relations in the First Phase of Rodolf Sirera’s Career (1969–1977), our object of study will be the plays composed by Rodolf Sirera (born Valencia, 1948) during the first phase of his career, between 1969 and 1977. …”
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L’art du théâtre de Howard Barker : la scène et la page en conflit by Vanasay Khamphommala

“…In his essays, Barker opposes the materiality of the theatre, that he despises, and the ideal of the art of theatre, to which he aspires. …”
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« Clio en scène », ou le théâtre d’histoire immédiate au prisme des Humanités numériques by Virginie Yvernault, Élisabeth Angel-Perez, Line Cottegnies

“…The project proceeds from the remark that both early modern theatre and contemporary theatre tend to show a predilection for objects that have to do with recent or immediate history. …”
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Frames of violence and recent history in Simon Stephens' Motortown by Marion Coste

“…British theatre is renowned for tackling topical, red-hot events pertaining to immediate history: the war in Iraq, for instance, prompted swift and diverse responses from British playwrights. …”
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Rhapsodie et métamorphoses de la voix dans The War Plays d’Edward Bond by Eléonore Obis

“…The changing voices of The War Plays are a sign of the major metamorphoses Bond’s theatre underwent at the end of the 80s.…”
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Violences à l’acte, violences dans l’acte : pour une histoire des théâtres féministes états-uniens by Madeleine Planeix-Crocker

“…From the first feminist theatre companies to the emergence of individual practices, the theatre – from the writing of a play to its staging – also provides a channel for alternative, utopian imaginative worlds free from violence and oppression. …”
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