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Renato Ortega ousa desvendar o enigma Bertolt Brecht, um ícone da dramaturgia do século XX, em seu livro: "As engrenagens por trás de A vida de Galileu: o intelectual em Bertolt Brecht". Ortega cruza fronteiras teoricas, unindo historia e ficço para vender o impacto revolucionario de Brecht. Ele explora a capacidade da arte de comunicar verdades profundas que a historia muitas vezes no pode capturar.O autor alemo, Brecht, serve como ponto de partida para Ortega, que entrelaça os discursos da historia e da politica para pintar um panorama da vida do dramaturgo. Focando na peça "A vida de Galileu", Brecht coloca o cientista Galileu no centro das lutas politicas de sua epoca.Brecht escreveu tres verses de sua peça ao longo de decadas tumultuadas, refletindo uma evoluço em sua viso sobre o papel do intelectual. O conflito entre o conhecimento cientifico e o poder politico e explorado de forma contundente, culminando na dolorosa reflexo de Galileu sobre a entrega de seu conhecimento nas mos dos poderosos.Ortega destaca que, ao contrario de um intelectual burgues, Brecht molda um Galileu que antecipou a sociedade em gestaço nos debates cientificos de sua epoca. O livro oferece uma analise profunda das complexas relaçes entre historia, politica e a busca do intelectual por verdades universais, lançando luz sobre a herança duradoura de Bertolt Brecht como um visionario do teatro e da critica social.

This comprehensive, easy-to-use guide contains everything you need to plan and deliver effective drama sessions, get the best out of your participants, and develop an empowering leadership style that works for you.Drawing on over fifteen years experience of running workshops including for the National Theatre, The Old Vic, Barbican, Battersea Arts Centre and National Youth Theatre Linden Walcott-Burton takes you through everything you need to know, with essential advice on:Your Workshop: How to plan and structure a successful session; how to deliver it effectively, whether in-person or online; how to devise and run an entire course. Your Group: How to motivate and get the best out of your group; how to encourage positive behaviours and manage challenging ones; how to adapt to different groups and needs; how to give and receive feedback. Yourself as a Workshop Leader: How to empower yourself by owning the space and maintaining boundaries; how to use your voice (and not lose it); how to harness the power of humour and fun. Packed with tips and techniques that work with any setting and age group, whether youre running a short session or a longer course, the book also provides specific guidance on delivering workshops in schools, working with disabled people and those with learning disabilities, and safeguarding when working with children and young people. Theres also advice on co-facilitating, working with assistants and finding work.Organised in handy, bite-sized chunks allowing you to find just what you need, the book also includes sample workshop plans and content, with additional insights and examples of best practice from many other leading practitioners in the field.Whether youre just starting out and want to learn the basics, or youre a seasoned facilitator looking for fresh ideas, The Drama Workshop Leader is the resource you need to deliver a great session in any room you walk into, no matter whats thrown your way.Every practitioner, no matter their level of experience, will gain so much from this book Jackie Tait, Primary Programme Manager, National Theatre Learning

"Tartuffe; Or, The Hypocrite" by Moliere (translated by Curtis Hidden Page). Published by e-artnow. e-artnow publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgottenor yet undiscovered gemsof world literature, we issue the books that need to be read. Each e-artnow edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Dança moderna 1992-2022 reúne textos do livro Dança moderna (1992) com escritos atualíssimos, incluindo imagens inéditas: as fotos da bailarina da Semana de Arte Moderna, evento que em 2022 teve seus cem anos festejados. Sob a curadoria editorial de Cassia Navas, os quatro artigos de 1922 permaneceram intactos: "As mes da modernidade" e "Klauss Vianna em So Paulo", de Cassia Navas, "As companhias estaveis" e "A experiencia do Teatro de Dança no Galpo", de Linneu Dias. A eles juntam-se os capitulos: "Dança na Semana de Arte Moderna: importante desimportancia", de Cassia Navas; "Dança em So Paulo hoje: continuidade e instabilidade, de 1992 a 2022", de Henrique Rochelle, e "Modernidade, dança no Recife", de Arnaldo Siqueira. Com isso, consolidam-se as escrituras da modernidade em dança (aqui incluidos o pos-moderno, o contemporaneo e ate mesmo um "des-moderno" decolonial), desta vez para alem de So Paulo, lançando-se uma mirada sobre a dança do Recife. A obra Dança Moderna 1992-2022 e uma realizaço do Programa de Aço Cultural-PROAC Mecenato Direto, por meio da Secretaria de Cultura, Economia e Industria Criativa do Governo do Estado de So Paulo, em edital que contemplou a CASSIA NAVAS PRODUÇES CULTURAIS

A presente obra tem por objetivo elucidar acerca do trabalho criativo do ator partindo de alguns conceitos teóricos produzidos por Jean-Paul Sartre, tais como sua noção ontológica do ser da consciênc

Este é o volume 2 da Coleção Teatro na Sala de Aula e traz esquetes teatrais para trabalha com os alunos temas transversais. Neste volume: Fake News, Gravidez na Adolescência, Drogas, Alcoolismo, Int

Catálogo cinematográfico.

Our most brilliant, fearless and creative women directors open the door on their craft, discussing their work in the theatre in intimate and illuminating detail.Through a series of fascinating conversations with many of the leading talents working on British stages, Running the Room explores what it takes to succeed in the field, and how each director approaches the work in their own way.Each interview focuses on a particular facet of the directors practice, examining not just the how how to talk to actors, how to create the right rehearsal environment, how to handle cuts and previews, how to work with a living playwright but also the why: why certain approaches work better than others, why theres no right way to direct a play, and why work in theatre anyway?As this passionate, inspiring book shows, there are myriad ways to be a theatre director. For aspiring or current directors, it will give you the confidence to be uniquely yourself, develop your own approach, and create the work you want to make. For creatives in other disciplines, it will provide insight into directors processes, along with examples of successful collaboration. And for anyone who loves theatre, this is an unparalleled first-hand account of how brilliant theatre is made direct from those making it.With contributions from:Natalie Abrahami Annabel Arden Milli Bhatia Carrie Cracknell Tinuke Craig Marianne Elliott Nadia Fall Yael Farber Vicky Featherstone Jamie Fletcher Sarah Frankcom Emma Frankland Rebecca Frecknall Debbie Hannan Tamara Harvey Natalie Ibu Ola Ince Lynette Linton Nancy Medina Katie Mitchell Rachel ORiordan Emma Rice Indhu Rubasingham Jenny Sealey

Este livro oferece uma visão abrangente e acessível do mundo do teatro, explorando sua história, suas teorias e práticas. Analisa-o de vários ângulos, desde o interesse em imitação encontrado nas pin

"No tempo em que não havia tempo, num lugar que era lugar nenhum"... As histórias contadas são um convite à imaginação: cada ouvinte se transporta a um cenário só seu, vivenciando com o narrador e co

Strap yourselves in, make sure the doors are locked, blow out the candles, and prepare to embrace the world of British horror films.A world of rural folk horror, megalithic stones, vampires, werewolves, escaped lunatics, nuclear war, Cenobites, zombies, spooky children, serial killers, cannibals, stone tapes, ghosts, elementals, killer cults, droogs, time loops, misty moors, nutty ventriloquists, graverobbers, rare and unusual objects of the occult, alien spaceships in the London Underground, Shakespeare inspired murders, and an archly eyebrowed Vanessa Howard.

O estudo parte do diálogo entre corpo e espaço, sob a ótica da adaptação de um processo criativo em dança realizado do espaço de uma cidade para o espaço de uma casa. Nesse sentido, o trabalho relaci

"Catiline" was Henrik Ibsens first play. It was written during winter 184849 and first performed under Ibsens name on 3 December 1881 at the Nya Teatern (New Theater), Stockholm, Sweden. The main character in this historical drama is the noble Roman Lucius Catiline, based on the historical figure of Catiline. He is torn between two women, his wife Aurelia and the Vestal virgin Furia. As characteristic of Ibsens early work, the play is in blank verse.Although "Catiline" may not be Ibsens best play, it foreshadows many of the themes found in his later works. Catiline, full of doubts and torn between love and duty, is similar to protagonists in John Gabriel Borkman and The Master Builder.Furia is also the prototype of some of the later female characters, such as Hedda Gabler.

John Ford is known to have written numerous plays during the reigns of James I (1603-1625) and Charles I (1625-1649), although only eight have survived. Their somewhat morbid and violent character speaks in part to the growing social tensions in the years before the English Revolution of 1640, which would lead to the execution of Charles nine years later."The Broken Heart" (written between 1625 and 1633) is laid in ancient Greece and its complex narrative revolves around Amyclas, king of Sparta, his daughter Calantha and their royal court. Commentators suggest that the court of Charles I might more appropriately be considered the plays real setting.The action begins as Orgilus prepares to depart Sparta for Athens. Hes leaving his home country because he can no longer stand to see Penthea, the woman to whom he was once betrothed, married to the abusive and jealous Bassanes. Orgilus also believes that once he has left, Bassanes irrational behaviour, inspired by the fear that his wife will cheat on him, might abate, giving Penthea, who married her husband, not for love, but at the command of her ambitious brother Ithocles, a more tolerable existence.Orgilus does not, however, leave Sparta, but merely disguises himself as a student of the philosopher Tecnicus, so that he can keep an eye not only on Penthea, but also his sister Euphrania. She falls in love with Ithocles best friend, Prophilus, even as Ithcoles finds himself passionately fixated on Calantha, the daughter of the ailing Spartan King...

menino que mora no circo

É com imensa alegria que compartilhamos com vocês leitores o livro O Ensino do Teatro nos Quilombos: Memórias e identidades Kalunga em cena. Apresentamos nele algumas diretrizes de pesquisa que teve

"Uncle Vanya", Anton Chekhovs masterpiece of frustrated longing and wasted lives, was originally a much more conventional drama in its earlier incarnation. Previously known as "The Wood Demon", the play was rejected by two theatres before premiering in Moscow in December of 1889 to a very poor reception (it closed after three performances). Sometime between that date and 1896, Chekhov revised the play, altering it radically. Chekhovs "Uncle Vanya" explores the disruption and discontent of a small group of people in rural 19th century Russia, and since its publication has helped pave the way for many of the worlds finest contemporary playwrights.Uncle Vanya spends his time idling around the country estate of his brother-in-law, Serebryakov, a retired professor, in Russia, 1898. His sister (the professors wife) dead, Vanya indulges in a romantic malaise over Serebryakovs beautiful, young second wife, Yelena. Meanwhile Doctor Astrov, summoned to the estate to tend to the professors myriad imagined aches and pains, is also in love with the enigmatic Yelena and remains oblivious to the fact that Serebryakovs daughter, Sonya, yearns for him. Trouble develops when Serebryakov announces his plan to sell the estate (Vanya and Sonyas home) in order to invest the profits and make a fortune for himself and Yelena.

Due giovani di diversa estrazione sociale fanno ingresso nel mondo totalizzante, e respingente, della chirurgia nellultimo quarto di secolo, tra il sessantotto e gli anni duemila, dove molte cose sono destinate a cambiare ma di fatto tutto sembra restare uguale.Seguiranno percorsi e destini differenti, come anche quello del narratore, la cui voce sta sullo sfondo, fino a diventare quella del protagonista raccontando una storia parallela destinata infine ad emergere, nel nuovo secolo, tra verita? dure da accettare, errori, ricordi inscalfibili e fantasie incendiarie.Restera? lacquisita consapevolezza di non dover mai, ad ogni costo, allontanarsi dalla strada maestra, quella della coscienza, la sola che si pone come unico obiettivo la ricerca della salute e laffermazione della giustizia per chi soffre, sempre tra difficolta? infinite.

Em "Festas, dramaturgias e teatros negros na cidade de São Paulo: Olaegbékizomba", podemos apurar, por meio de análises de documentos e uma brilhante elaboração crítica, as várias insurgências das pe

"Three Sisters", as all of Chekhovs most popular plays, was written near the end of his life, in 1900. "Three Sisters" was the first play that Chekhov wrote specifically for the Moscow Art Theatre, having experienced commercial success in his previous collaborations with the company, "The Seagull" and "Uncle Vanya".The play is set in a small, remote town dominated by an army base. The action takes place in the Prozorov family home over a span of several years. Born and bred in a thriving metropolis, the Prozorovs came to this small town when their father was made commander of the local army brigade. Now, the Prozorov family consists of four siblings: Olga, Masha, Andrei and Irina, the youngest. Three sisters and one brother.Both of the Prozorovs parents have died. The mother many years ago; the father precisely one year earlier, on Irinas 21st birthday. Irinas 22nd birthday is thus also the first anniversary of her fathers death. Old family friends and acquaintances drop in on the family to mark the occasion.Amongst the visitors is Colonel Vershinin, the new brigade commander, who has only recently arrived in town and becomes a spark of new potential, particularly for Masha. Each act of the play moves forward in time, charting five years in the life of the town, its soldiers, the Prozorov household and its three sisters.The characters of "Three Sisters" are outstanding examples of Chekhovian boredom, longing, and listlessness. The playwright portrays the sisters social aspirations with sensitivity and irony, using them as emblems of Russian middle-class pretensions and despair.