{"title":"摩尔到剧院的过去:酷儿史学和约翰·亨利·摩尔和吉姆·海恩斯作为英国另类表演实践基础的伙伴关系","authors":"Grant Tyler Peterson","doi":"10.1080/10486801.2024.2413467","DOIUrl":null,"url":null,"abstract":"","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"13 1","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2025-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices\",\"authors\":\"Grant Tyler Peterson\",\"doi\":\"10.1080/10486801.2024.2413467\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\",\"PeriodicalId\":43835,\"journal\":{\"name\":\"CONTEMPORARY THEATRE REVIEW\",\"volume\":\"13 1\",\"pages\":\"\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2025-04-08\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"CONTEMPORARY THEATRE REVIEW\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/10486801.2024.2413467\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"CONTEMPORARY THEATRE REVIEW","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10486801.2024.2413467","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices
期刊介绍:
Contemporary Theatre Review (CTR) analyses what is most passionate and vital in theatre today. It encompasses a wide variety of theatres, from new playwrights and devisors to theatres of movement, image and other forms of physical expression, from new acting methods to music theatre and multi-media production work. Recognising the plurality of contemporary performance practices, it encourages contributions on physical theatre, opera, dance, design and the increasingly blurred boundaries between the physical and the visual arts.