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1. Pushing the boundaries: How the actor training practices of Monika Pagneux and Philippe (...)

   http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwnV3PTxQxFG4we-GiuBgVkbyD4VZ2pu20hRCMIazEcACiB0_kzZtWCGEXGTbon-V_aF9nZokx8eC1zUw66ZvXr-_H9wnxriblommCNDYQS5hV0u-WKI1D7cgrCkVuTvafvqqzcz897ANubV9WOfjE7KibOXGMfKKZpqS0ztn3t98lq0ZxdrWX0HgiRlonYJyTtX4ZY2Fqdu-7xLIxMkEBNzTx-GLCYzyULonK7CitK2vcXy45nzPTZ-JqWGEust7piky6cMMf1dcDjeP_f8yaeNqDUfjQWc9zsRJmYzHKhjAWL0_6UGYL23CyZF9ux2L8iDXTVNZJb9fFr9NFDmdBgpRQZ7UmvobvwfH8IY9lZR8YNClg6M9qYR6BXcs1wil-m4XFD8BZA_uXB1205zbAR1wkrHy3P7k8gBv8CVyKy105EJZMzfk1mDtJ8-NMufWQjp10qMLVDOasRs7LwPu7IG_wOsHeF-LL9Ojz4bHsBSEkKW_vpat2a08h2gIVFjEkMyMfdUO-qai0QXGOFJlBzuiIriKvY11XTMoXE7Ai9UqAcdpaSiAJsTSqoHSDI4OObFmTM3XxWmwOW3bR_87txeN-bfx7-o1YZWvKpT1qU4ximg5vO6GJrWycvwGfN_C_

   by Kemp, Sarah

   Theatre, Dance And Performance Training, Volume 15, Issue 2, pp. 310 - 327

   Journal Article

2. Puppet bodies: reflections and revisions of marionette movement theories in Philippe (...)

   http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwnV07T8MwELZAXVh4FMSroBsQTKGp48YuQiCEKAgBAgQDE_KrgICk1HRA_HnOjgNiYSBb7ERKrLPv8-fv7gjZUJryATM2YbnVvoRZNxG9jkwYlxnXgmqbhuBkcXpHr65F_zASbi7KKus1MSzUptSeI297JMJx5uad_eFb4qtG-dPVWEJjkjSyDIFxOKwV3xyLT80uRHWwzFiCUIDXQTwibfs23-T1Xfk2-jlEQvnvJZlGP9OfIU_1FwaR9XYlMqnohl_q6zqN4_9_ZpZMRzAKB5X1zJEJWzRJIxhCkyyeRSrTwSacfWdfdk3S_MGa2BXqpLt58nk5HiIEB1V6YeIOoOt9CTqvwoEsDIxiHLuDcgCvuEUvCy8zgtcypCx_hxBTia_CUwG7j3sV1TO0cCzHCJRHW263_bgHF3bsyRk4l-4ZhtbIh_LhY4Hc9o9uDk-SWNoh0Znovie2a6ixPSU0szwbKKNSg5bhJSyqhxhCcqkYghNNcyUoT00q09yoHvpbvBSjSwQYxxuNcEfKDsNHcS-mmeQ67yjNmUqXSase_Ps4Md39z8iv_N29Sqao9-CebaEt0hhgt12rSkasBzP7AgRe3XI

   by Purcell-Gates, Laura

   Theatre, Dance And Performance Training, Volume 8, Issue 1, p. 46

   Journal Article

3. The flop: oscillation, disruption, misdirection, and transgression

   http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwpV07T8MwELYQLCy8JQoFZWAkVRK7tsMGhQixgYqAyXIuNkIqpWrS_4_PThAZEEM3e7Dl3MOXO33-jpCLEjJhWWVixg1gC7NxLPNUx0xoKkBmYBL_OFk-vGWPT7KYtGjCuoVVYg5tA1GEv6vRuXVZd4g4l69jFEpeEZglnavnkvtW1m6Edj0tXn6qLBgNuW-wiotiXNU94_lro16A6tGX9q9r2sagYpfMutN7APYoAFBCKaKHzO4oHtf60D2y0_6rRtfBuPbJhpkfkK3bpf7Uh-TGGVhkZ1-Lqwj5MGcBU3cZVR_1crUIY2dDIWT6mTtG1GBofA_Y2_kReS7uppP7uG3IEIM7QROLkrHcIimX5abSGqw2ZjwGm4hcjl3qBQBJmQoD0mle5Ck4CzFAdQa0sjanxyRignIOTi1apyxLwGVQwLQAnpYgWJkMyKgTv1oEwg2VtjymnTwUykO18hiQ_LeSVOMrHTa0JVH0n7XDTqOq9d1auSQN6wJU8pM1tj4l2zj1yF46JJvNcmXOQseJc4QUyHNvqd9XUOZs

   by Raby, Gyllian

   Comedy Studies, Volume 9, Issue 2, pp. 238 - 244

   Journal Article : Full Text Online

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