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This paper explores the critical reflexivity between actors and the audiences by focusing on François-Joseph Talma during the French Revolution. Admirers wrote letters to Talma filled with advice which may have prompted Talma’s dramatic style, his theory about “creative imagination”, and his belief in an actor’s mission to be like a history teacher, which he would later develop in Réflexions sur Lekain et sur l’art théâtral (1825). [ABSTRACT FROM AUTHOR]

The tablao is a club where flamenco dance and music shows are offered. This paper demonstrates how the different elements of the tablao work together following a hetero-patriarchal logic and how this logic is reproduced using certain socio-economic and psychological mechanisms. [ABSTRACT FROM AUTHOR]

This choice may seem paradoxical for a character who is at the same time a man of power and a lover. Based on seventeenth century sources and contemporary stage productions, this paper studies Nero's paradoxical, showing how it allows questioning the definition of the masculine and its association with the traditional attributes of authority and power in Western society [ABSTRACT FROM AUTHOR]

At the very beginning of the sixteenth century, Martin Dorpius and Adrien Barlandus, two humanist scholars at Louvain, staged antic comedies and tragedies with their students. On these occasions, they composed original prologues imitating those of their ancient models. This paper aims to analyze the way the introductory texts to the performances displayed various forms of authorship, from revered “auctoritas" to shared authorship. [ABSTRACT FROM AUTHOR]