Abstract
"In the ‘80s, satirical student groups, the so-called artistic “brigades”, were one of the most dynamic subversive artistic phenomena against the communist system. This paper aims to shine a light on the dimension of this phenomenon, to find explanations for the apparently privileged status enjoyed by such groups, as well as to clarify the reasons why theatre critics of the time so stubbornly ignored them. Keywords: theatre, cultural policies, camps humour, political humour, theatre criticism "
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