Book contents
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
Contents
Published online by Cambridge University Press: 18 August 2022
- Visualising Lost Theatres
- Cambridge Studies in Modern Theatre
- Visualising Lost Theatres
- Copyright page
- Contents
- Figures
- Acknowledgements
- Introduction
- 1 The Rose Theatre, London, and Stage Movement in Marlowe’s Doctor Faustus
- 2 Komediehuset, Bergen, and Henrik Ibsen’s Stagecraft in His First Theatre
- 3 A Colonial Audience Watching Othello at the Queen’s Theatre, Adelaide
- 4 Cantonese Opera and the Layering of Space on the Australian Goldfields
- 5 The Design of Attraction at the Stardust Showroom in Las Vegas
- Conclusion: Visualising the Future of Theatre Research
- Appendix: The Eighteen Scripts of the Underworld
- References
- Index
Summary
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- Visualising Lost TheatresVirtual Praxis and the Recovery of Performance Spaces, pp. viiPublisher: Cambridge University PressPrint publication year: 2022