eBooks de Formación del actor, página 2 de 8

Augusto Boal desarrolló los principios contenidos en Teatro del Oprimido en la década de 1970 en Brasil, en el seno de una renovación cultural en torno a la práctica del arte escénico como una actividad dedicada a la mejora efectiva de la vida de los grupos sociales mas desfavorecidos. Fue en esta obra donde Boal articulo el embrion de un metodo que permitia facilitar el reconocimiento de la naturaleza y origen de las opresiones mas profundas para poderlas combatir. Su propuesta es subvertir radicalmente las convenciones que dominan el mundo de la representacion, transformando al espectador en protagonista de la accion dramatica para que pueda preparar acciones reales que le conduzcan a la propia liberacion. Con espiritu brechtiano, de ahi partio la investigacion de Augusto Boal que, a lo largo de los años, ha dado como resultado el Teatro Legislativo, el Teatro Invisible, el Teatro Imagen y el Teatro Forum y la practica teatral en su vertiente terapeutica conocida como El arco iris del deseo. En la Estetica del Oprimido, Boal lanza las bases de una Estetica que corresponda a las necesidades de los oprimidos, sin copiar las Esteticas dominantes de los opresores.Teatro del Oprimido fue publicado originalmente en dos volumenes en 1973 -el segundo titulado Juegos para actores y no actores- y pronto se revelo un texto ineludible de referencia, tanto en el ambito de la creacion teatral como en el del activismo politico, la psicoterapia, el arte y la educacion social. Ahora recuperamos en español una version revisada y ampliada por su autor.Augusto Boal (Rio de Janeiro, 1931-2009), estudio en la School of Dramatic Arts de la Universidad de Columbia, en Estados Unidos. Ademas de director y pedagogo, es autor de varios libros sobre tecnica teatral, basados en su propia experiencia, entre los que destacan Teatro del oprimido, germen de sus trabajos posteriores contra la opresion, y Juegos para actores y no actores, ambos publicados en Alba. Su obra ha sido traducida a mas de veinticinco idiomas Dirigio durante años un centro de Teatro del Oprimido en Paris y otro en Rio de Janeiro.Augusto Boal ha sido premiado, entre otras instituciones, por la UNESCO, las Universidades de Nebraska, Goteborg, el Instituto de Teatro de Puebla (Mexico), LInstitut de Teatre de Barcelona y, recientemente, ha sido nombrado Doctor Honoris Causa de la Universidad Queen Mary de Londres.

A pesar de que los contenidos teóricos de los estudios iniciales de Stanislavski y su articulación con el psicoanálisis, la Gestalt o el psicodrama han proliferado y miles de escuelas en el mundo han pretendido ocultar el hueco metodologico propiciado por Lee Strasberg con aportaciones psicologicas que facilitaran la busqueda personal, Jorge Eines opina que se trata de un inmenso error: cualquier individuo es libre para autolesionarse, pero un profesor no deberia impulsarlo a que lo hiciera. La tecnica es una regla de seguridad; de lo contrario, el arte se desplaza hacia un extremo en el que ya no hay arte.Asi, la tecnica de la interpretacion es concebida como un proceso en el cual el actor o el alumno de Arte Dramatico se interroga a si mismo sobre los limites de su propio arte.En Hacer actuar, el actor en formacion y el ya formado (si esto es posible, pues un actor nunca esta formado del todo) encontraran una firme, vibrante y esclarecedora defensa de la tecnica como esencia del oficio de actuar que hace factible la aparicion del talento, pues este, en opinion del autor, no se posee: se conquista.

¿Por donde empezar? ¿Es posible pensar en la técnica como los cimientos de un edificio?La pregunta por los comienzos de la formación de un actor viene alimentando la historia del teatro. La manera singular en que este libro aborda el problema parece ser el punto inicial de un viaje para poder entender la pedagogia de Jorge Eines. Una propuesta que se ocupa del proceso en su etapa inicial y que abre las puertas a la imaginacion, la destreza y por ende a la tecnica. Todo ello con la finalidad de orientar a un alumno para que encuentre su lugar en el arte del actor.Un libro que es punto de partida. Una via de acceso a los demas textos del autor (La didactica de la dramatizacion, Alegato a favor del actor, El actor pide y Hacer actuar) componiendo una universo tanto teorico como practico para profundizar en las lineas maestras que definen la formacion de los actores.

Dicionário cinematográfico.

Uma exposição completa de todos os filmes de John Wayne. O leitor poderá conferir os elencos, datas de produção, dias de lançamentos, empresas produtoras e outras informações associadas ao filme pesq

Glossário de cinema e música.

Uma relação completa dos filmes estrelados pelo ator Buster Keaton. Informações gerais sobre estes filmes como elenco, produção, direção, formato e tempo de duração dos filmes estão à disposição dos

This empowering and accessible guide offers dyslexic actors a range of techniques to tackle common challenges, improve your creative practice, and fulfil your ambitions.Inside, youll find loads of practical information and advice on:Understanding your dyslexic identity so you can learn and perform at your best, and unlock your full potential. Developing the key skills you need as an actor with tools to help you master each of them, such as text work, line-learning, movement, voice, Shakespeare and more. Managing your acting career including preparing for auditions, thriving in rehearsals, taking care of your emotional wellbeing, and organising your time and finances. Each section sets out clear goals and strategies to help you progress, and many of the tools are supported by online video content. Theres also guidance for anyone who works with and supports dyslexic actors such as teachers, directors, parents and fellow creatives.The Dyslexic Actors Toolkit will show you how to harness your own strengths and abilities to overcome obstacles, build your confidence, and achieve lasting success in your career.Ive been working with Deborah for over ten years and her strategies for dyslexic actors are just great. This book is brilliant she takes the complicated and makes it simple. Kara Tointon (EastEnders, Mr Selfridge, The Teacher)Deborah Groves is an acting and arts accessibility coach, and a creative enabler, who works primarily with neurodiverse stage and screen actors, writers and dancers. She has worked with leading organisations such as the Royal Court Theatre, Shakespeares Globe, Almeida Theatre, Royal Shakespeare Company, Paramount Pictures and Netflix, as well as with many UK drama schools.

A leitura do livro Poemas Anajaense, resgatando e desenvolvendo valores, vem mostrar as belezas naturais e o bom acolhimento do povo desse lugar.Despertando no leitor(a) um incentivo de cada vez maisbuscar um bom crescimento pessoal, moral e social. Mostrando pela poesia a forma inovadora de viver com bastanteconhecimento e um simples modo de se sentir acolhido unspelos outros.Ao adentrar a parceria com os escritores convidados, vai despertar um novo modo de pensar e agir, de forma mais paci-ca e igualitaria em Anajas, no Marajo.Mostrando as belezas naturais e pessoais que temos. Ondeesta aprimorando e fortalecendo as ideias, por isso que aleitura poetica rimada nos ajuda a ser mais feliz e encontrarmais liberdade.Boa leitura!

Filmografia completa dos filmes estrelados pelo ator Charles Starrett na condição do personagem Durango Kid.

Em A Importância da Oração , Neiriberto Silva de Freitas explora profundamente o papel vital da oração na vida do cristão. Através de uma análise cuidadosa e inspiradora, o autor aborda temas como ad

Filmografia completa do ator Johnny Weissmuller.

There is no acting, only reacting to the space.In his bestselling book The Actor and the Target, Declan Donnellan laid out a fresh and radical approach to acting that has inspired actors around the world.Now, in The Actor and the Space, he develops and extends those ideas, exploring that most profound source of vitality in life as well as performance: the space around us.Tackling fundamental questions that face any actor What makes performance better? How do I create a space for my character to live in? How do I tap into that space, and draw energy from it? Donnellan offers a universal set of keys to unlock the mysteries of performance.Full of insightful precepts, acute psychology and practical, hands-on advice, the book presents a bold new way of thinking about acting, illustrated throughout with line-by-line analysis of scenes from Macbeth to show how it works in rehearsal and performance.Essential reading for any actor or theatre director, The Actor and the Space is also a fascinating distillation of the work of a world-leading director that will reward and enrich anyone with an interest in theatre.A hand grenade of a book. It contains all the humility and chutzpah you need to work in the theatre. Cate BlanchettA wonderful book. Few directors think as deeply or perceptively about the art of acting as Declan Donnellan. This is an essential text for the actor, supremely useful, practical, elegant and profound. Matthew MacfadyenBeautifully clear. This generous vision takes a very complex art form and makes it all seem so simple. The whole book is a key. Unlocking the problems actors face as they try to accept another reality long enough to let the audience get a glimpse of the best our art can offer a glimpse into themselves. Adrian Lester Declan Donnellans profound insight and point of departure is that great theatre, like a childs sandcastle, inhabits a vulnerable and ever-changing space between the safe and the dangerous. There is a whole lot of wisdom in this book about tragedy, human psychology, words, dread and about how great acting really works conveyed with remarkable clarity and simplicity. Its worth sharing with non-actor friends for its insights into Macbeth alone. Most of all, its a distillation of hard-won lessons learned from decades of immersion in the mysteries of theatre by one of the great directors of our day. James Shapiro, Shakespeare scholar and author of 1599: A Year in the Life of William Shakespeare

Dicionário cinematográfico.

On the Stage and Off is a comic memoir of Jerome K. Jeromes experiences as an aspiring actor. Its a truly captivating collection of entertaining accounts on the day-to-day life of a would-be actor, told in Jeromes uniquely humorous manner.He was an English novelist and playwright whose wit and humor won him a massive following. He decided to try his luck at acting under the stage name Harold Crichton at a young age. But after three years of struggle with no evident success, disheartened, Jerome decided to seek other occupations. He tried journalism, writing essays, satires, and short stories, but most of these stood rejected. Finally, he wrote this memoir which became an instant hit soon after its publication. Jerome describes the events precisely, writing about all the ups and downs. He talks about his determination to become an actor, his life on and off stage, his views on acting, etc. Jerome finally writes beautifully about his last appearance as an actor, leaving the reader emotional.

Neste livro, sobre cinema e cidade, o cinema é visto como um fractal da cidade. Em Matemática, o fractal é uma estrutura geométrica complexa. As propriedades dessa estrutura repetem-se em qualquer escala. Fractais so objetos e cada parte desses objetos e semelhante ao objeto como um todo. Uma estrutura metonimica. Fractal tambem assinala uma forma de ver, viso com o maximo de abertura que entrelaça documentario, cinema e cidade com o campo da Linguistica Aplicada, da Analise do Discurso Critica. Nesta analise, a cidade e o cinema esto presentes no manejo da lingua(gem) documental, nas historias de familias, no corpo das travestis. O cine Jangada, posto como discurso, traz como materia de reflexo os muitos modos de dizer a cidade. A perspectiva de analise so as representaçes discursivas sobre o cine Jangada. Nesse cenario, o cinema representa o proprio cinema numa cena metanarrativa que engloba metafora, ideologia e lugar de fala. O circuito exibidor, nesse panorama analitico, revela as engrenagens economicas e culturais que circundam o ato de ir ao cinema e a força que um objeto cultural encerra para a compreenso das relaçes de poder, saber e lingua(gem).

Only what is open and searching is active and alive. You, the actor, must learn to find security in insecurity, certainty in uncertainty, to trust that this will lead to discovery and growth.In What Actors Do, revered theatre director Mike Alfreds explores the wellspring of the actors craft, tracing a pathway to creative freedom through the thickets of competing methodologies and confusing paradoxes that you will face throughout your training and career.How do you give life to a character that both is and isnt yourself? How can you be childlike and open in your work without becoming childish? How, when you know whats coming next, can you still be spontaneous?Frank, uncompromising and full of sharply focused insights, this book will help you strip away the inhibitions and habitual thinking that can shackle our imaginations. It will show you how to generate truthful performances by trusting your inner creativity and remaining radically open, responsive and present in every moment.Mike Alfreds has been directing plays for more than seventy years. In the 1970s he founded Shared Experience, and has since worked for the National Theatre, Shakespeares Globe, the Royal Shakespeare Company and also extensively abroad. He is hugely respected within the profession, and is the author of two previous books, Different Every Night and Then What Happens?If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds. To me he is a genius when it comes to acting and storytellingMark Rylance

We are all a complex mixture of the elemental energies identified by many different cultures throughout history: Earth, Air, Fire, Water and a fifth element called Quintessence or Spirit. As an actor, you need to be able to access each of them, so that you can draw on whichever element you need to bring your role fully into life.In The Elemental Actor, Mel Churcher explores these deep, primal drives, and gives you practical tools to harness them to make your work more powerful and alive. Her unique approach combines elements of actor training, voice work and movement to increase your range and help you bring depth, specificity and intensity to your performance.The book includes over one hundred games and exercises to help you explore each of the elements, incorporate this work into your practice, and apply it to the world of your role. There are also tips for preparing for auditions and dealing with performance anxiety, as well as advice on how to stay healthy in body, voice and mind.Offering an everlasting palette that will enrich any performance, whether on stage or screen, The Elemental Actor will help you release the wellspring of your imagination, and put elemental power into your work.Mel Churcher is an international acting, dialogue and voice coach who has worked with companies including the Royal National Theatre, Royal Shakespeare Company, Regents Park Open Air Theatre, Shakespeares Globe, Young Vic, Royal Court Theatre and Graeae Theatre Company. She is one of the top acting and dialogue coaches in TV and movies, and has worked with some of the biggest stars of stage and screen.

This clear, concise and practical guide provides actors with a structured and effective method for breaking down and understanding a performance script. It offers a flexible approach that works with plays from any period or genre, with television and film scripts, and even when preparing for your audition.Inside, youll find the tools you need for every step of the process, from making sense of the whole script, to breaking it down scene by scene, through to detailed line-by-line analysis. There are strategies for exploring character arcs, objectives, beat shifts and subtext, as well as practical exercises and sample scenes from leading playwrights to help you put the concepts into action. Also included are worksheets you can use and reuse on all your future projects.Wherever you are in your acting career, this book is your essential working companion giving you a method for tackling any script, and providing the foundation to take your performances to the next level.The Compact Guides are pocket-sized introductions for actors and theatremakers, each tackling a key topic in a clear and comprehensive way. Written by industry professionals with extensive hands-on experience of their subject, they provide you with maximum information in minimum time.

The book all actors need a vital manual to help you stay balanced in an increasingly demanding industry Miranda HartThe Jobbing Actor is an innovative six-week coaching programme designed by accredited coaches to help you achieve your acting ambitions. Its not just another how to guide telling you what you already know; its a professional self-development programme thats high on impact and low on bullshit.Week by week, it will guide you through a structured series of industry-focused and holistic exercises and challenges. Full of uplifting advice and practical hints and tips, it covers every aspect of building and sustaining a career from auditions and self-taping, through dealing with rejection and other trip-ups, to networking, branding and diversifying. Also included are daily journal pages in which youll set your targets and goals, and track your progress.Inspiring, empowering and fun! The Jobbing Actor is your own personal coach in handy paperback form. Itll empower you to take stock of where you are personally and professionally, instigate long-term, positive change, and reclaim ownership of your career.Anita Gilbert and Letty Butler (aka Bert & Butler) have between them over forty years experience in the business. Anita has worked as a professional actor, as well as a theatrical agent, and is now a full-time voice and accent coach. Letty is a jobbing actor and comedienne, with extensive credits for stage and screen. Shes also an award-winning writer and professional life coach.Brilliant. A godsend to actors! Eleanor TomlinsonNo-nonsense, practical advice delivered with humour, warmth and a real desire to help actors succeed Peter Hunt (Head of Casting, Lime Pictures)