Ebooks de arte, página 94 de 1250

En 1991 se estrenó Thelma y Louise. Al final del largometraje, Martine Delvaux estalló en lágrimas, conmovida por el destino trágico de las dos protagonistas.En este relato intimista, la autora entrelaza las reflexiones sobre el filme, que ha visto numerosas veces, y las de su vida personal.Une esta pelicula a otras peliculas, a amistades significativas y a momentos personales especiales.Memorable como las conversaciones que no quisieramos que acabaran, Thelma, Louise y yo de Martine Delvaux nos despierta las ganas de volver a ver el filme, una vez mas.¡Un ensayo vertiginoso! Delvaux nos ofrece un trabajo intrigante, a mediocamino entre el analisis del filme y el diario intimo(Marie-Laurence Boulet, Le fil rouge).En una amalgama brillante, combinacion de lo intimo y lo universal, la autoraparte de Thelma & Louise para reflexionar sobre el destino de las mujeres(Alexandra Mignault, Les Libraires).Martine Delvaux es muy habil en su forma de recordarnos lo que hizo en1991, y el camino recorrido durante los años que nos separan del estreno dela pelicula que es no tan solo suyo, si no que nos concierne a todos(Catherine Voyer-Leger, Nuit blanche).

Theft is a book by Jack London, an American novelist. A pioneer of commercial fiction and an innovator in the genre that would later become known as science fiction.Theft is a political piece set in Washington, DC. A Congressman, Howard Knox, is ready to reveal the corrupt practices of Anthony Starkweather, a wealthy industrialist. To complicate matters, Starkweathers daughter is helping Knox. The plays underlying anti-capitalist theme is also found in some of Londons other works. The plot revolves around recovering documents that support Knoxs revelations.

Theatrical Scenic Art is a detailed guide to the creative process of painting and preparing scenery for theatre. The book offers key insights into the role of the scenic artist, detailing the process from planning, budgeting and developing samples through to creating and delivering the final finishes. Topics covers include: design interpretation and realisation; choosing the right tools and equipment; drawing and colour theory; preparation for floor and frame painting; traditional and contemporary techniques for hard and soft scenery and, finally, a range of processes including creating textures, polystyrene carving, scenic faux finishes and sign writing. With personal insights from highly acclaimed designers, this practical guide offers advice on how to become a scenic artist, useful work experience, valid courses and career options for both freelance and fulltime painters.

In "Theatrical and Circus Life: or, Secrets of the Stage, Green-Room and Sawdust Arena," John J. Jennings offers a comprehensive exploration of the unique worlds of theater and circus in the late 19th century. Through vivid anecdotes and meticulous observations, Jennings captures the exhilarating and oftentimes perilous experiences of performers, revealing the interplay between art and ambition within these vibrant venues. His literary style merges informative expose with an engaging narrative that taps into the drama and spectacle of life behind the curtain, making the work resonate with both scholarly audiences and general readers alike. John J. Jennings, a performer and journalist himself, was intimately aware of the complexities and vibrancies of stage life, which informed his vivid narratives. His firsthand experiences and connections within the theater and circus communities equip him with a distinct perspective, bridging the gap between representation and lived experience. Jennings passion for performance is evident as he meticulously sheds light on the often-hidden realities of artists striving for success. This book is a must-read for those intrigued by the performing arts, providing not only a historical lens into the lives of entertainers but also enduring insights into societal perceptions of performance. Jennings work invites us to reflect on the sacrifices and triumphs of those who enchant and entertain, making it an essential addition to any theater lovers library.

In "Theatrical and Circus Life or, Secrets of the Stage, Green-Room and Sawdust Arena," John J. Jennings deftly explores the intricate world of performance, weaving together personal anecdotes and detailed observations to unveil the hidden dynamics of theater and circus life in the late 19th century. This work elegantly combines an informal yet engaging narrative style with vivid descriptions, allowing readers to peer into a realm often shrouded in glamor and glamours darker undercurrents. Jennings navigates the complexities of the stage and sawdust arenas, providing a rich tapestry of stories that illuminate the tension between performance and authenticity. John J. Jennings, a seasoned performer and theatrical manager himself, draws from his extensive experiences within the dramatic arts to write this revealing narrative. His deep understanding of the struggles and triumphs of entertainers informs his insights, creating a relatable, insiders perspective that resonates with readers. Jennings unique vantage point grants him the authority to comment on the artistry and hardships that characterize show business, bolstered by the socio-cultural context of his time. This essential read is a must for those fascinated by the performing artsAibe it theater aficionados, circus enthusiasts, or scholars of cultural studies. JenningsAo compelling storytelling not only entertains but also enriches the readers understanding of the emotional and ethical complexities faced by those who inhabit these vibrant worlds. Dive into this immersive exploration and gain a profound appreciation for the craft and camaraderie that thrive beneath the spotlight.

She has, to my knowledge, an almost unblemished record in never having failed to spot a great new playPhilip Howard, from his ForewordJoyce McMillan has been writing about theatre in Scotland for more than three decades. As drama critic successively for The Guardian, Scotland on Sunday and The Scotsman, she has reviewed thousands of plays. During that time she has borne witness to an extraordinary cultural and political renaissance in Scotland, reflected in the newfound confidence of its playwrights, in the vibrancy of its theatre culture and in its recent outburst of new theatre companies.Compiled by McMillan and the theatre director, Philip Howard, Theatre in Scotland is a panoramic history of modern Scottish theatre, reported from the frontline. It traces the remarkable journey of Scottish theatre towards its new self-confidence: the road to 1990, when Glasgow was European Capital of Culture; followed by the explosive expansion of the 1990s; culminating in the emergence of the National Theatre of Scotland and its drive to bring theatre culture right into the heart of the nation.Gathered here are the leading Scottish playwrights, from John Byrne to Liz Lochhead, from David Greig to David Harrower, as well as the full breadth of English playwrights, from Shakespeare to Pinter. There are reflections on the great Scottish plays, classic Ane Satyre of the Thrie Estaitis, Men Should Weep and modern Black Watch, The James Plays. There are reports not only from the urban theatre centres of Edinburgh and Glasgow but from all over Scotland; and from the feast that is the Edinburgh Festival, to the nourishing A Play, A Pie and A Pint.A leading thinker and writer about Scotland, McMillan has an incomparable ability to detect the wider cultural resonances in Scottish theatre, and to reveal what it can tell us about Scotland as a whole. Her book serves as a portrait of a nation and a shared cultural life, where visions of what we have been, what we are, and what we might become are played out in sharp focus on its stages.When Scottish theatre works [its] magic over the coming years, I will be there, to try to catch the moment in print, and to tell it as it was. And believe me, on the good nights and the bad ones, the privilege will be mine: to be paid to go looking for joy, and occasionally to find it.Joyce McMillanJoyce has an unrivalled passion and hunger for theatre - to be surprised by it, challenged by it, moved by it. Her prose when describing something which has done just this is inspiring and affecting.Vicky Featherstone

Described by The Times as the national childrens dramatist, David Wood has been writing, adapting, directing and acting in plays for children for more than twenty-five years. His best known work, from his play The Gingerbread Man to his adaptations of Roald Dahls The BFG and The Witches have enjoyed national and international professional success and entered the repertory of amateur companies and school dramatic societies. Now David has written the definitive book on theatre for children. He analyses the skills involved in entertaining audiences of children everywhere and reveals his special techniques for catching and holding a childs attention. This practical, step-by-step comprehensive guide is essential reading for professionals and amateurs alike, and anyone wanting to be involved in theatre for children.

Théâtre de nulle part, œuvre qui regroupe six grandes pièces. Venus d’ailleurs : Une histoire de spationaute ; Le savon de Marseille : On croirait entendre Galabru en l’Abbé Martin ; Black-out lunair

You have discovered a perishable treasure, and it is imperative to share it with other people before it fades... You have only one chance to get it right, while the impression is still fresh...If critics often disagree among themselves over the merits of a given work, this is nothing compared to the wider argument about what the critics role should be - Objective judge? Consumer guide? Provocateur? - and whether or not those practising criticism are living up to their duty to the perishable treasures on which they pronounce. In Theatre Criticism, first published in 1992, Irving Wardle sets out to define the credentials and aims of this vexed profession. Tracing its origins to Dryden and the Grub Street writers of Georgian London, Wardle goes on to examine the prejudices, questions and practices of modern reviewing, drawing on three decades worth of his own experience.

Theatre Craft is an all-encompassing, practical guide for anyone working in the theatre, from the enthusiastic amateur to the committed professional. With entries arranged alphabetically, Theatre Craft offers advice on all areas of directing, from Acting, Adaptation, and Accent to Sound Effects, Superstition, Trap Doors and Wardrobe. Enlightening and entertaining by turns, the celebrated director John Caird shares his profound knowledge of the stage to provide an invaluable companion to anyone creating a play, musical or opera. Whatever the theatre space - the backroom of a bar, a studio theatre, or the biggest stages of the West End or Broadway - this authoritative volume is an essential reference tool for the modern theatre practitioner. Internationally renowned theatre director John Caird has directed and adapted countless productions of plays, operas, and musicals for the Royal Shakespeare Company, Londons National Theatre, in the West End, and on Broadway-from Les Miserables and Nicholas Nickleby to Hamlet and Peter Pan.

Nandita Dinesh places Kiplings "six honest serving-men" (who, what, when, where, why, how) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dineshs personal narrative with the public story of modern conflict, illustrating as it does, the importance of theatre as a force for ethical deliberation and social justice. In it Dinesh asks how theatre might intervene in times and places of conflict and how we might reflect on such interventions. In pursuit of answers, Theatre and War adopts the methods of auto-ethnography, positioning the theatrical practitioner at the heart of conflict zones in northern Uganda, Guatemala, Northern Ireland, Mexico, Rwanda, Kenya, Nagaland, and Kashmir. No longer a detached observer, the researcher and practitioner has to be able to meld theory with practice; to speak to doing, without undervaluing the importance of thinking about doing.Each chapter approaches the need for a synthesis of theory and practice by way of a term of inquiry?Why, Where, Who, What, When?and each is equipped with a set of unflinchingly honest field notes that are designed to reveal some of the hows from the authors own repertoire: questions and issues that were encountered during her own theatrical undertakings, along with first hand reflection on the complexities, potential, and challenges that attended her global work in community theatre. Within these notes are strategies that give the reader a practical insight into how the discussion might find its footing on the ground of war.The range and scope of this book make it required reading for those interested in theatre?practitioners, researchers, and students alikeas well as those seeking to understand the applications of the arts for ethics, politics, and education.

This study aims to disclose the inner dynamics of the rich and diverse milieu within the Ottoman-Turkish society that created its unique hybrid forms through the scenic arts against an understanding of modernity in terms of a simple import or imitation of Western cultural forms. In the 19th century Armenians pioneered this process with melodramas, necessitating the presence of female performers on the stage; Armenian women thus went onstage with patriotic motives. Among the two leading figures of the Turkish Republic period are Nazim Hikmet, the most prolific but severely censured Turkish dramatist and Muhsin Ertugrul, who founded the subsidised theatres of Ankara and Istanbul. A later phase of modernisation arrives in the sixties with a social awakening towards the conditions of the rural society: Ankara becomes the seat of "popular" theatre after the founding of Ankara Art Theatre, in 1961. Mehmet Ulusoys work in France in the 19701980s crowns the final synthesis.

If theatre were a religion, explains David Mamet in his opening chapter, many of the observations and suggestions in this book might be heretical. As always, Mamet delivers on his promise: in Theatre, the acclaimed author of Glengarry Glen Ross and Speed the Plow, calls for nothing less than the death of the director and the end of acting theory. For Mamet, actors are either good or they are non-actors, and good actors generally work best without the interference of a director, however well-intentioned. Issue plays, political correctness, method actors, impossible directions, Stanislavksy, and elitists all fall under Mamets critical gaze. To students, teacher, and directors, who crave a blast of fresh air in a world that can be insular and fearful of change, Theatre throws down a gauntlet that challenges everyone to do better, including Mamet himself.From iconic and idiosyncratic director and playwright David Mamet, a mischievous manifesto designed to defrock the high priests and challenge the holy bibles of the theatre world.

The "Zohar of Moses de Leon" is a mystical masterpiece that plunges us into the depths of esoteric thought and Kabbalah. Attributed to Moses of Leon, this sacred text is a fascinating exploration of divine mysteries and the nature of reality. Throughout its pages, the Zohar unravels the secrets of the universe, revealing profound teachings about creation, divine connection and spiritual purpose. The author guides the reader through symbolic interpretations of the Torah, providing a unique perspective on the relationship between the visible and the invisible. The Zohar is not only a religious text, but a work that has inspired spiritual seekers and scholars throughout the centuries. Its rich symbolism and focus on spiritual enlightenment make it an essential tool for those seeking a deeper understanding of existence and connection to the divine. Immerse yourself in this mystical journey and discover the transformative teachings of the Zohar that have influenced Jewish spirituality and beyond.

"The Young Rajah" showcases Rudolph Valentino in a captivating silent film role as Amos Judd, a young man raised in America who discovers his true identity as the heir to a far-off Indian kingdom. This film blends adventure, romance, and mysticism, presenting Valentino in a story of self-discovery, duty, and love. The narrative explores themes of destiny, cultural identity, and the clash between Eastern and Western values, with Valentinos performance offering a mix of sensitivity and strength. The films exotic settings, elaborate costumes, and Valentinos charismatic presence make "The Young Rajah" a unique and memorable entry in the silent film era, showcasing the stars versatility and the eras fascination with the exotic.

The pieces in the present volume are taken for the most part from Mozarts so-called London Sketch Book, written on his English tour in the year 1764, at the age of eight. There are also several earlier pieces which the young Mozart wrote in Salzburg in 1762. The original text has been retained; obvious errors in notation have been corrected.

"The Yellow Wallpaper (original title: "The Yellow Wall-paper. A Story") is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward womens health, both physical and mental. Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Foregoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment she is forbidden from working, and is encouraged to eat well and get plenty of exercise and air, so she can recuperate from what he calls a "temporary nervous depression a slight hysterical tendency", a diagnosis common to women in that period. She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. Because its a nursery the rooms windows are barred, to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate. The story depicts the effect of understimulation on the narrators mental health and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper. "It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper the smell! ... The only thing I can think of that it is like is the color of the paper! A yellow smell."In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. "For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way." (font: Wikipedia)

Meet the Newells, a big family of good lookers and hard grafters. From their sleepy working class backwater, the siblings break into Oxford academia, Londons high life, the glossy world of magazine publishing and the stratospheric riches of New Yorks hedge funds. Then theres Paddy, the wrongun in their midst, who prefers lifes underbelly. As things fall apart around his sister Bea, is Paddy behind it all? And why does matriarch Edie turn a blind eye to her sons malevolence? Will she stand by and watch while he wrecks the lives of her other children? Just how much is she willing to sacrifice to protect her son? The book opens with Edie, now in her seventies, who looks back on her early married life with her husband, George, and their ever-growing brood. She loved having babies, but resented their growth and increasing independence. She recalls the horror and confusion surrounding the death of her toddler son, Timmy. Even though it happened forty years ago, she still blames her brother, his uncle, for falling asleep while he was supposed to be looking after the children. Now, her favourite son, Paddy, has just been released from prison for dangerous driving. She is good at making excuses for him. All her other children are successful, and have done extremely well in their chosen careers, but it becomes apparent that she begrudges her only daughters success. Why does she resent her daughter so much? Paddy is malevolent, violent, bullying, cruel... Edie has never forgiven herself for giving him up to the care system before she married George. He has never fitted in with his siblings, and is the bad apple that can ruin the whole batch. The only person he has ever cared about is his stepfather, George, who saw only too clearly what Edie has always been blind to. Bea, the only daughter in the family, has grown up knowing her mother doesnt love her. She is a successful journalist, and adores her husband, David, and her stepchildren, but longs for a baby of her own. Then suddenly David dies. In the midst of her grief, her glamorous cleaning lady, Lorena, flaunts her pregnancy. She insists that the baby is Davids, and is willing to take a DNA test to prove it. Welcome to the world of the Newells, where nothing is as it seems.

Perfect for playwrights and screenwriters of all levels of experience, The Writers Toolkit will equip you with everything required to kickstart your creativity, develop your craft, and make your writing the very best that it can be.Written by an experienced playwright, screenwriter and producer, this essential book is packed with almost two hundred practical exercises, techniques and ideas for every part of your process, designed to be used either solo or in a group. It includes:Writing warm-ups to focus your mind and get your creative muscles in gear Dozens of exercises to strengthen fundamental elements of your writing such as developing characters, improving dialogue, layering in subtext, creating a strong setting and constructing a compelling plot Immersive-writing techniques to lift the world of your script off the page and allow you to shape it more effectively A blueprint for writing a ten-minute play a great way to practise your craft, explore a new idea and add to your portfolio A Submission Surgery with exercises and pointers so you can review and fine-tune your completed work before sending it out 101 quick-fire writing prompts to help you warm up, take a break from your current project, or just keep you feeling productive Also included are mindful meditations to use at the beginning and end of your writing sessions, to help you relax, boost your productivity and maximise your creative output.Whatever you need as a writer whether thats to crack a problem in your current script, develop ideas for future projects, build up your skills and experience, or bust through writers block this book will give you the right tools for the job. So get writing!A generous and inventive book, packed full of the creativity it is bound to inspireAnna Jordan, playwright and screenwriter (Succession, Killing Eve, Yen)An enthusiastic, encouraging guide with endless tips to make every stage of the writing process not only doable but enjoyable too Diane Samuels, playwright and author (Kindertransport)

Sequels are not always a bad thing. They dont have to be terrible. We can all think of great sequels. But for every good sequel there are a host of truly terrible sequels. Sequels to films that didnt even need a sequel, sequels that were rushed into production with no script, sequels so preposterously belated no one could even remember the original film. If there is one constant in the world of film it is unnecessary and terrible sequels. So, lets lift the veil over the most misguided and inept sequels ever produced and explore the worst sequels of all time!