{"id":7,"date":"2022-01-08T11:24:12","date_gmt":"2022-01-08T09:24:12","guid":{"rendered":"https:\/\/nivel.teak.fi\/nivel20\/?p=7"},"modified":"2023-05-31T15:28:45","modified_gmt":"2023-05-31T12:28:45","slug":"bibliography","status":"publish","type":"post","link":"https:\/\/nivel.teak.fi\/nivel20\/bibliography\/","title":{"rendered":"Bibliography"},"content":{"rendered":"<p>Balakrishnan, B. 2008. <em>Kalaripayattu,<\/em> Poorna Publications, Calicut, India.<\/p>\n\n\n\n<p>Banu, Georges. 1993. <em>L&rsquo;acteur qui ne revient pas<\/em>. FOLIO.<\/p>\n\n\n\n<p>Barba, Eugenio, and Savarese, Nicola. 1991. <em>A Dictionary of Theatre Anthropology.<\/em><\/p>\n\n\n\n<p>Bertrand, Monique\/Dumont Mathilde. 1970. <em>L&rsquo;Expression corporelle, mouvement et pens&eacute;e<\/em>, Librairie Vrin, Paris, France.<\/p>\n\n\n\n<p>Biez, J&ouml;rgen. 2019. <em>Lehren und Lernen von Bewegungen<\/em>, in: xxxx.<\/p>\n\n\n\n<p>Callois, Roger. 1958. <em>Die Spiele und die Menschen<\/em>, Ullstein Materialien, Ullstein-Verlag, Frankfurt am Main.<\/p>\n\n\n\n<p>Craig, Gordon. 1919. <em>The Theatre Advancing<\/em>, Little, Brown and Co. 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The Mime Book, Ombrella Book, Harper and Row, USA.<\/p>\n\n\n\n<p>Kirby, E.T. 1975: 1&ndash;32 in <em>Urdrama, The Origins of Theatre. <\/em>Kirby sees the roots of theatre in shamanism.<\/p>\n\n\n\n<p>K&uuml;nzell, Stefan. 2012. &lsquo;Modelle der Bewegungskontrolle und des Bewegungslernens in sportp&auml;dagogischer Perspektive&rsquo;<em>, <\/em>in Biez\/Laging\/Pott-Klindworth<em>: Didaktische Grundlagen des Lehrens und Lernens von Berwegungen, <\/em>Schneider Verlag Hohengehren GmbH, Germany.<\/p>\n\n\n\n<p>Laban, Rudolf. 1950. <em>The Mastery of Movement on the Stage<\/em>. Macmillan, London.<\/p>\n\n\n\n<p>Lecoq, Jacques. 2000. <em>Der poetische K&ouml;rper<\/em>. Alexander-Verlag, Berlin.<\/p>\n\n\n\n<p>Lecoq, Jacques. 2006. <em>Theatre of Movement and Gesture<\/em>. Routledge, Abingdon.<\/p>\n\n\n\n<p>Lehmann, Hans-Thies. 2009. <em>Postdramatic Theatre<\/em>. 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Fragrant Hill paper<em>, <\/em>Beijing University Press.<\/p>\n\n\n\n<p>T&aring;ngeberg-Grischin, Maya. 2011. <em>The Techniques of Gesture Language. <\/em>Dissertation<em>, <\/em>University of the Arts, Helsinki. <a rel=\"noreferrer noopener\" href=\"https:\/\/urn.fi\/URN:ISBN:978-952-9765-66-9\" target=\"_blank\">URN:ISBN:978-952-9765-66-9<\/a>.<\/p>\n\n\n\n<p>T&aring;ngeberg-Grischin, Maya. 2004. <em>The Mask as Tool for the Actors Mimesis<\/em>, Master&rsquo;s thesis, University of the Arts, Helsinki.<\/p>\n\n\n\n<p>Vosgerchian, Mary Ann. 1975. <em>The Physical Training of the Actor<\/em>. Dissertation, University of Michigan, Ann Arbor.<\/p>\n\n\n\n<p>Weil, Simone. 1951. &lsquo;Reflections on the Right Use of School Studies with a View to the Love of God&rsquo;, in<em> Waiting on God.<\/em><\/p>\n\n\n\n<p>Wang Shi Ying and Zhang Yi Juan. 2002. <em>Xi Qu Dan Hang Shen Duan Gong.<\/em><\/p>\n\n\n\n<p>Zarilli, Phillip B. 1998. <em>When the Body Becomes all Eyes<\/em>, Oxford India Paperbacks, New Delhi.<\/p>","protected":false},"excerpt":{"rendered":"<p>Balakrishnan, B. 2008. Kalaripayattu, Poorna Publications, Calicut, India. Banu, Georges. 1993. 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