| 臺大學術典藏 |
2022-03-03T05:34:48Z |
當代臺灣戲曲劇場的跨界表現
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
當代台灣歌仔戲劇場的影像發展與美學實踐
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
「臺日友好」下的跨文化流動：《東離劍遊紀》的製作與傳播
|
謝筱玫; 陳思縈; 張鰲騰; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:48Z |
瑪麗．辛默曼的神話敘事與劇場美學：從《變形記》到《白蛇》
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
Evoking History through the Scrim: The Development of Image Projection in Traditional Taiwanese Theatre
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
當代戲曲中的布雷希特疏離效果重探：奇巧劇團的《波麗士灰闌記》
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
從胡撇仔、新胡撇仔到戲曲音樂劇：奇巧劇團的《鞍馬天狗》
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:49Z |
台灣小劇場戲曲的跨界實踐
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
日裔美國劇作的拘留營書寫
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
Strategies of Adapting Shakespeare in Traditional Theatre in Taiwan
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
展演戲劇性：《艷后》與《水袖》的後設敘事
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:50Z |
Rewriting Shakespeare, Reconstructing Beijing Opera: Guoguang Opera Company's Cleopatra and Her Fools
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Strategies of Adapting Shakespeare in Traditional Theatre in Taiwan.
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
亞裔演員在美國：五反田寬的《美國狗去死吧》
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Opela in Taiwan: Commercial Theatre, Grassroots Theatre, and Intellectual Theatre
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Guoguang Opera Company’s Collaboration with Robert Wilson in Taiwan and Its Outcome
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
Where Have All the Butterfly Lovers Gone: The Aftermath of the Chinese Drama Reform Campaign
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:51Z |
《卲江海》的兩個版本：戲劇史的書寫政治
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
兩岸歌仔戲的發展方向
|
謝筱玫; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
Two Versions of Shao Jianghai: Politics of Theatre Historiography in China
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
Staging the Regional/National: Taiwanese Opera Performances in Beijing
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:52Z |
In the Name of Shakespeare: Cross-Cultural Adaptation in Taiwan’s Beijing Opera
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:53Z |
Chinese Mythology, Hong Kong Intervention: The Transboundary Flows of the Snake Story
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:53Z |
Transforming Tradition: the Double Meanings of Opela
|
Hsieh, Hsiao-Mei; HSIAO-MEI HSIEH |
| 臺大學術典藏 |
2022-03-03T05:34:53Z |
《卲江海》：幾個無法割捨之景
|
謝筱玫; HSIAO-MEI HSIEH |
