Dalla prefazione delleditor: La scelta dellautore [...] mette in chiaro il fatto che non stiamo leggendo una storia normale con personaggi che vivono la loro vita.Dalla prefazione dellautore: La questione che mi preme molto e far cadere ogni tentativo di narrazione: in breve, dunque, non voglio raccontarvi proprio un bel niente.Sinossi: Matteo, lautore di questopera, ha rinchiuso allinterno di un teatro tre attori chiamati "il protagonista", "il secondo protagonista" e "lattrice". Loro stanno portando avanti le prove per uno spettacolo che si dara a breve, ma purtroppo le cose non sono semplici perche: il protagonista vuole fuggire via, non vuole fare parte di questopera ("In questo luogo ce un divieto categorico da rispettare ed e di non scappare!" recita il cartello sulla porta di uscita, nel primo capitolo), litiga spesso con laltro attore ed e combattuto dalla scelta se evirarlo oppure ucciderlo; questultimo poi e sposato con lattrice, ma lei attrae il desiderio amoroso anche del protagonista. In tutto cio, il narratore dellopera ha ottenuto dagli attori il privilegio di assistere a queste prove, ma egli per timore di cio che andra a vedere e raccontare ha esteso questo privilegio anche ai lettori. Resta dunque da ammirare, tutti insieme, le loro gesta che dimostrano la grande abilita dei tre nel mischiare falsita vitale e verita scenica.

Aún luchando por conseguir el merecido reconocimiento artístico y no quedar oculta bajo la labor del director teatral, la escenografía es una de las disciplinas teatrales más decisivas y, por supuesto, mucho mas que una pintura de fondo con la que enmarcar a los interpretes. Pamela Howard, que ha trabajado en mas de 200 montajes en el Reino Unido y todo el mundo, explica en este libro las claves de la creacion de un espacio escenico: el juego con el espacio, las pistas visuales que sugiere el texto, la investigacion y documentacion, el color y la composicion, el vestuario, la colaboracion con el director, el interprete y el espectador. Experta en la creacion de espacios escenicos en arquitecturas no teatrales (una antigua fortaleza y carcel en Tesalonica, un cine abandonado en Belgrado, un salon de actos de un viejo colegio en el distrito industrial de Pittsburgh), abo-ga tanto por el recurso a las ultimas tecnologias como por la necesidad de un teatro sostenible. ¿Que es la escenografia? no solo documenta -con ilustraciones- la variadisima experiencia de la autora (de La pasion griega de Martinu a La rosa tatuada de Williams), sino que rinde tributo a sus maestros e inspiradores: Leon Bakst, Caspar Neher, Robert Planchon...Como dijo David Bradby, es una obra esencial, mas si cabe para cualquiera que quiera saber como esta evolucionando el teatro.

¿Cuál es su problema fundamental? Diálogos con Santiago García, recoge una serie de conversaciones con una de las figuras centrales de la cultura colombiana contemporánea. A través de ellas, el ejercicio de memoria sobre su vida y obras, registra de paso el pensamiento y las claves creativas de unos de las grandes figuras del teatro latinoamericano. A la voz del maestro se unen, la de amigos, colegas y por supuesto, de los miembros del Grupo La Candelaria del cual fue fundador y al cual ha permanecido ligado en una trayectoria que ya suma medio siglo. Interesado inicialmente en la arquitectura (estudia en la Universidad Nacional (Bogota), en Bellas Artes en Paris y en el Instituto Universitario de Venecia) se interesa en el teatro, inicialmente como actor bajo la direccion de Seki Sano, prosiguiendo su formacion en Praga, en el Actors Studio (Nueva York) y en la Universidad de Teatro de las Naciones (Vincennes, Francia). Pintor, escritor, pedagogo, director, dramaturgo, teorico, actor de teatro, cine y television, son algunas de las facetas de un gran artista comprometido con las vicisitudes e historias del pais, y cuyo trabajo ha trascendido las fronteras al punto de ser nombrado Embajador Mundial del Teatro por la Unesco.El texto suma, al rigor de la investigacion que le da origen, una serie de anecdotas que dan testimonio del humor del maestro Santiago Garcia, de su profundo conocimiento tanto de la escena teatral mundial como de la historia de Colombia y America Latina, al tiempo que recoge una memoria de vida y una singular forma de trabajo en grupo (la creacion colectiva).

Los investigadores del siglo XXI saben que una investigación bien documentada supone una vacuna eficaz contra los falsos discur-sos. El teatro para niños es un campo desconocido donde los haya, ignoto para los historiadores del teatro, de la cultura e incluso de la educacion, a pesar de su capacidad de alumbrar aspectos deter-minantes de la vida social de una epoca. Porque determinantes son tanto la forma en que el poder politico organiza la vida teatral de un pais como la educacion de la infancia, dos aspectos que convergen en este libro.Cristina Santolaria es muy consciente del valor del traba-jo de campo, del hecho de rescatar datos olvidados, humildes en apariencia, pero que, traidos oportunamente, pueden iluminar as-pectos desconocidos de la historia teatral y constituirse en puntos de apoyo de nuevos enfoques e interpretaciones. Este trabajo se adentra, por primera vez, en territorios absolutamente desconoci-dos. Su autora ha tenido la valentia y la generosidad de desbrozar el camino a los investigadores que vengan detras, al tiempo que permite a los lectores de hoy asomarnos a un periodo de la histo-ria del teatro para la infancia felizmente superado, pero del que, si somos capaces de comprender los mecanismos que lo impulsa-ron y lo rodearon, podremos extraer lecciones para el futuro.

En este recorrido, la autora se une a compañeros de viaje separándose de las disciplinas y la academia, en busca de prácticas epistémicas alternativas en otros lugares, en el arte, la performance y en otras formas de hacer mundo. ¡Presente! no visualiza el conocimiento como algo a ser cosechado y comercializado sino mas bien como un hacer, un saber comprometido, un proceso de estar, caminar, hablar y escuchar a y con los demas, con todas las trampas, complicaciones, contradicciones y responsabilidades que eso conlleva.

Zoe Wanamaker discusses playing Beatrice in Shakespeares Much Ado About Nothing, in this ebook taken from Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles.In each volume of the Shakespeare On Stage series, a leading actor takes us behind the scenes of a landmark Shakespearean production, recreating in detail their memorable performance in a major role. They lead us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare and fascinating for audiences of the plays.In this volume, Zoe Wanamaker discusses playing the role of Beatrice in Nicholas Hytners production of Much Ado About Nothing at the National Theatre, London, in 2007.This interview, together with the others in the series (with actors such as Ian McKellen, Simon Russell Beale, Alan Rickman and Fiona Shaw), is also available in the collection Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles by Julian Curry, with a foreword by Nicholas Hytner.

Quando si traduce si fanno necessariamente delle scelte, perché non si può tradurre tutto in modo ottimale. Nel caso specifico, quando il testo della traduzione è destinato alla recitazione, tutte le

Mein einziger Sohn Robert wurde im Alter von 30 Jahren bestialisch ermordet. Ein grausamer Schicksalsschlag, bei dem Suizidgedanken zu verarbeiten waren. Wenn die Seele schreit, ist sie offen und empfanglich fur alles, speziell fur Krankheiten, die mich hart trafen. Mir ist jedoch ein posttraumatisches Wachstum widerfahren, denn diejenigen, die sich von so schweren Schicksalsschlagen nicht unterkriegen lassen, machen die paradoxe Erfahrung, dass aus der eigentlichen Verletzlichkeit eine neue innere Kraft und Starke erwachst. Und diese habe ich wieder gefunden.

Maria and Sam have been together since university. They love each other sincerely, they have a happy life, also professionally. They reach the point where they want a child. Their serenity will, however, be shattered by someone they cannot even imagine and who has decided to pull the strings of their fate, someone who wants above all to disrupt Sams life. This man is a psychotic boss of the Miami underworld who will try to carry out his macabre criminal plan to make Sam lose the most precious things he has: Maria, his job and his freedom.

O livro, ele reúne a primeira parte de dois tomos - leitores avisem ao Habib e ao Lebre se vão querer mais edições assim que a gente vai fazendo- do melhor, o suprime, o suprassumo dos escritos Habib

You Never Can Tell is a play by George Bernard Shaw, an Irish playwright who became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature.The play is set in a seaside town and tells the story of Mrs. Clandon and her three children, Dolly, Phillip, and Gloria, who have just returned to England after an eighteen-year stay in Madeira. The children have no idea who their father is and, through a comedy of errors, end up inviting him to a family lunch. It was published as a part of Plays Pleasant, which also included Arms and the Man, Candida, and The Man of Destiny. Shaw titled the volume Plays Pleasant in order to contrast it with his first book of plays, Plays Unpleasant.

Have you ever fancied being in the movies, or on TV? Lets face it, who hasnt! But how do you actually go about becoming an Extra, one of those lucky people who get to mix with the stars, and appear onscreen whether it be in a battle scene in a blockbuster movie, or walking around Albert Square and whats more, get paid for the privilege! Unbelievably, there has never been a book which tells you exactly how to get work as a Supporting Artiste until now. You Can Be a Movie Extra is the ultimate insiders guide (author Rob Martin is a leading casting agent, whos supplied Extras for films such as Gladiator and Harry Potter). It tells you everything you need to know, from getting on an agents books to what to do on your first day on set, and how to make sure you keep getting regular work, whether it be in films, on TV, or in commercials and music videos! Revised and fully updated to 2011/12.

"YO CHAMUYO, VOS CHAMUYÁS" ofrece una aventura educativa única donde el aprendizaje del español se fusiona con la pasión por el tango. A través de esta obra, los lectores se sumergirán en la cultura milonguera, aprendiendo el lenguaje y los modismos propios de este ambiente. Ideal para estudiantes de español y aficionados al tango que desean enriquecer su experiencia cultural y linguistica.

Wuthering Heights is Emily Brontes first and only published novel, written between October 1845 and June 1846, and published in 1847 under the pseudonym Ellis Bell; Bronte died the following year, aged 30. The decision to publish came after the success of her sister Charlottes novel, Jane Eyre. After Emilys death, Charlotte edited the manuscript of Wuthering Heights, and arranged for the edited version to be published as a posthumous second edition in 1850. Wuthering Heights is the name of the farmhouse where the story unfolds. The books core theme is the destructive effect of jealousy and vengefulness both on the jealous or vengeful individuals and on their communities.Although Wuthering Heights is now widely regarded as a classic of English literature, it received mixed reviews when first published, and was considered controversial because its depiction of mental and physical cruelty was unusually stark, and it challenged strict Victorian ideals of the day, including religious hypocrisy, morality, social classes and gender inequality. The English poet and painter Dante Gabriel Rossetti referred to it as "A fiend of a book an incredible monster ... The action is laid in hell, only it seems places and people have English names there." In the second half of the 19th century, Charlotte Brontes Jane Eyre was considered the best of the Bronte sisters works, but following later re-evaluation, critics began to argue Wuthering Heights was superior. The book has inspired adaptations, including film, radio and television dramatisations, a musical by Bernard J. Taylor, a ballet, operas (by Bernard Herrmann, Carlisle Floyd, and Frederic Chaslin), a role-playing game,and a 1978 song by Kate Bush.

Non esistono distinzioni fra uomo e donna,maschio o femmina,nessuno che possa obbligare il suo simile a scegliere di sentirsi a proprio agio con un fisico che lo spinge ad una lotta interiore fra demoni.Esistono scelte coraggiose e persone pronte a correre il rischio per vivere quella felicita, nel corpo, nel fisico, nella mente e nel cuore, prima che il tempo giunga al termine.

The leading British writer-director of his generation, David Hare is also one of the most productive. The last two years have seen the outstanding success of two stage plays, The Secret Rapture and Racing Demon, and the release of two films, Paris by Night and Strapless. The pieces collected here, written left-handed, form both a concealed professional autobiography and a lucid commentary on his work.

The theatre is an essential art form that is forever evolving. A well-written play can make us laugh, cry, cringe, or reflect. It can confirm what we already know, or it can introduce us to new worlds. It can relax us, or incite us to action. Writing for the Stage A Playwrights Handbook is a step-by-step guide to dramatic writing. Drawing on proven methods and professional insights, this book explores the mechanics of playwriting and the skills needed to create a compelling story. It aims to help readers understand the art and craft of writing for the stage and avoid some of the pitfalls.Topics covered include defining a play; starting points; the importance of structure; the first draft and rewrites; placing the work and negotiating rehearsals and, finally, the playwright in a devising context.

George Robert Gissing was an English novelist who published 23 novels between 1880 and 1903. Gissing also worked as a teacher and tutor throughout his life. He published his first novel, Workers in the Dawn, in 1880. His best known novels, which are published in modern editions, include The Nether World (1889), New Grub Street (1891), and The Odd Women (1893) (font: Wikipedia).

Packed with insights from a lifetime of directing theatre, Words into Action is a fascinating read and a vital masterclass for actors and directors.Renowned theatre director William Gaskill was one of the founders of the Royal Court, whose ethos, as Christopher Hampton says in his Foreword, this book goes a long way towards defining.Gaskills acclaimed work as a director always began with the words of the playwright, and here, starting with a chapter on Trusting the Writer, he takes the actor through the vital steps needed to find the life of the play and then to articulate it on stage.Drawing instances from his own work in the theatre and from teaching at the Royal Academy of Dramatic Art, he looks at action and intention, stillness and movement, sentences and rhetoric, punctuation and pauses. He pays detailed attention to staging Shakespeares plays, and there are also chapters on masks, on language as character, and on verse and prose. Gaskill was, says Maggie Smith, the best teacher in the world.

A play about the political transition in Catalonia. A play about memory. A play about our recent silenced stories and those unforgettable violent and difficult times. This play follows a group of friends who live in a small town, a place like any other. They observe and participate in historical changes while their own lives are disrupted. These friends secretly perform theater in a cold ramshackle garage, while the former regime change transforms the political, social and emotional realities of their lives. This play is based on the novel "Dies Meravellosos" by Jordi Coca.