eBooks de Artes Escénicas, página 16 de 110

With The Master Builderor Master Builder Solness, as the title runs in the originalwe enter upon the final stage in Ibsens career. "You are essentially right," the poet wrote to Count Prozor in March 1900, "when you say that the series which closes with the Epilogue (When We Dead Awaken) began with Master Builder Solness.""Ibsen," says Dr. Brahm, "wrote in Christiania all the four works which he thus seems to bracket togetherSolness, Eyolf, Borkman, and When We Dead Awaken. He returned to Norway in July 1891, for a stay of indefinite length; but the restless wanderer over Europe was destined to leave his home no more.... He had not returned, however, to throw himself, as of old, into the battle of the passing day. Polemics are entirely absent from the poetry of his old age. He leaves the State and Society at peace. He who had departed as the creator of Falk [in Loves Comedy] now, on his return, gazes into the secret places of human nature and the wonder of his own soul."

The Man of Destiny 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 Man of Destiny is a play by George Bernard Shaw, set in Italy during the early career of Napoleon. It was published as a part of Plays Pleasant, which also included Arms and the Man, Candida and You Never Can Tell. Shaw titled the volume Plays Pleasant in order to contrast it with his first book of plays, Plays Unpleasant.

The twelfth of May, 1796, in north Italy, at Tavazzano, on the road from Lodi to Milan. The afternoon sun is blazing serenely over the plains of Lombardy, treating the Alps with respect and the anthills with indulgence, not incommoded by the basking of the swine and oxen in the villages nor hurt by its cool reception in the churches, but fiercely disdainful of two hordes of mischievous insects which are the French and Austrian armies. Two days before, at Lodi, the Austrians tried to prevent the French from crossing the river by the narrow bridge there; but the French, commanded by a general aged 27, Napoleon Bonaparte, who does not understand the art of war, rushed the fireswept bridge, supported by a tremendous cannonade in which the young general assisted with his own hands. Cannonading is his technical specialty; he has been trained in the artillery under the old regime, and made perfect in the military arts of shirking his duties, swindling the paymaster over travelling expenses, and dignifying war with the noise and smoke of cannon, as depicted in all military portraits.

Ay, my good neighbors! we at least todayAre Frenchmen still, free citizens and lordsOf the old soil which our forefathers tilled.Who knows whom we tomorrow must obey?For England her triumphal banner wavesFrom every wall: the blooming fields of FranceAre trampled down beneath her chargers hoofs;Paris hath yielded to her conquering arms,And with the ancient crown of DagobertAdorns the scion of a foreign race.Our kings descendant, disinherited,Must steal in secret through his own domain;While his first peer and nearest relativeContends against him in the hostile ranks;Ay, his unnatural mother leads them on.Around us towns and peaceful hamlets burn.Near and more near the devastating fireRolls toward these vales, which yet repose in peace.Therefore, good neighbors, I have now resolved,While God still grants us safety, to provideFor my three daughters; for midst wars alarmsWomen require protection, and true loveHath power to render lighter every load.[To the first Shepherd.Come, Etienne! You seek my Margots hand.Fields lying side by side and loving heartsPromise a happy union![To the second.Claude! Youre silent,And my Louison looks upon the ground?How, shall I separate two loving heartsBecause you have no wealth to offer me?Who now has wealth? Our barns and homes affordSpoil to the foe, and fuel to the fires.In times like these a husbands faithful breastAffords the only shelter from the storm.

Can you get rich with just one dollar? What if he was a homeless person? Moreover, with the conviction of not wanting to keep money in hand for fear of being corrupted by what defines the poison of society.Nothing will be as you expect in this dramatic story, moving, raw and meaningful, where gray can be better between black and white.

Love is a simile of painEvery now and then, love shatters uswithin our heart, in pieces of apuzzle we are incapable of fitting again until that long lost piece missing, appears, enters your life and, without knowing how, you are fulfilled again. I am called Daniel and I learnt the feeling when your heart is crushed and at the same time, the happiness thanks to Nayade, my child and world. Due to this, time was the only witness of my scars, and when I thought I was going down again, love held me to teach me, once again, to be strong.My history is part of life, and life is no hallway of roses. There was a time that, for me, all was a chaos of events which almost cracked me, cause hell broke lose and wanted to tear apart me from what the love of a father means.

Frances Eliza Hodgson Burnett (24 November 1849 29 October 1924) was a British-American novelist and playwright. She is best known for the three childrens novels Little Lord Fauntleroy (published in 18851886), A Little Princess (1905), and The Secret Garden (1911).Frances Eliza Hodgson was born in Cheetham, Manchester, England. After her father died in 1852, the family fell on straitened circumstances and in 1865 immigrated to the United States, settling near Knoxville, Tennessee. There Frances began writing to help earn money for the family, publishing stories in magazines from the age of 19. In 1870, her mother died, and in 1872 Frances married Swan Burnett, who became a medical doctor. The Burnetts lived for two years in Paris, where their two sons were born, before returning to the United States to live in Washington, D.C., Burnett then began to write novels, the first of which (That Lass o Lowries), was published to good reviews. Little Lord Fauntleroy was published in 1886 and made her a popular writer of childrens fiction, although her romantic adult novels written in the 1890s were also popular. She wrote and helped to produce stage versions of Little Lord Fauntleroy and A Little Princess.Burnett enjoyed socializing and lived a lavish lifestyle. Beginning in the 1880s, she began to travel to England frequently and in the 1890s bought a home there, where she wrote The Secret Garden. Her oldest son, Lionel, died of tuberculosis in 1890, which caused a relapse of the depression she had struggled with for much of her life. She divorced Swan Burnett in 1898, married Stephen Townsend in 1900, and divorced him in 1902. A few years later she settled in Nassau County, Long Island, where she died in 1924 and is buried in Roslyn Cemetery.In 1936 a memorial sculpture by Bessie Potter Vonnoh was erected in her honour in Central Parks Conservatory Garden. The statue depicts her two famous Secret Garden characters, Mary and Dickon.

The Lost Girl is a novel by D. H. Lawrence, first published in 1920. It was awarded the 1920 James Tait Black Memorial Prize in the fiction category. Lawrence started it shortly after writing Women in Love, and worked on it only sporadically until he completed it in 1920.

The Lost City is a book written by Joseph E. Badger, Jr.. It is widely considered to be one of the top 100 greatest books of all time. This great novel will surely attract a whole new generation of readers. For many, The Lost City is required reading for various courses and curriculums. And for others who simply enjoy reading timeless pieces of classic literature, this gem by Joseph E. Badger, Jr. is highly recommended.

Protásovs flat in Moscow. The scene represents a small dining-room.Anna Pávlovna, a stout grey-haired lady, tightly laced, is sitting alone at the tea-table on which is a samovár. Enter nurse, carrying a teapot.NURSE. May I have a little hot water, maam?ANNA PAVLOVNA. Yes. Hows Baby?NURSE. Hes restless. Theres nothing worse than for a lady to nurse her baby herself! She has her troubles, and the child must suffer. What can her milk be like, when she lies awake crying all night?ANNA PAVLOVNA. But she seems quieter now.NURSE. Quiet, indeed! It makes one ill to see her. Shes been writing something, and crying.

Enoch Arnold Bennett (27 May 1867 27 March 1931) was an English writer. He is best known as a novelist, but he also worked in other fields such as journalism, propaganda and film. Bennett was born in a modest house in Hanley in the Potteries district of Staffordshire. Hanley is one of a conurbation of six towns which were joined together at the beginning of the 20th century as Stoke-on-Trent. Enoch Bennett, his father, qualified as a solicitor in 1876, and the family moved to a larger house between Hanley and Burslem.[1] Bennett was educated locally in Newcastle-under-Lyme. Bennett was employed by his father but the working relationship failed. Bennett found himself doing jobs such as rent-collecting which were uncongenial. He also resented the low pay; it is no accident that the theme of parental miserliness is important in his novels. In his spare time he was able to do a little journalism, but his breakthrough as a writer came after he had moved from the Potteries. At the age of 21, he left his fathers practice and went to London as a solicitors clerk.

Sometimes amazing people live next to us, whose existence, even before the end of their earthly days, becomes a legend. Such is a lot of the chosen. They, feeding the lofty ideas of humanity, hear, see and feel what is inaccessible to ordinary mortals, and we do not notice them, do not cherish them. Such a creator, whose name is surrounded by a halo of immortality, was Niko Pirosmani. The stories that are told about him, no one can confirm or deny. But they are his biography. He created it himself with his amazing life. A life that turned into a Legend about the Master. And we have no right not to believe her

ARM. What! Sister, you will give up the sweet and enchanting title of maiden? You can entertain thoughts of marrying! This vulgar wish can enter your head!HEN. Yes, sister.ARM. Ah! Who can bear that "yes"? Can anyone hear it without feelings of disgust?HEN. What is there in marriage which can oblige you, sister, to.ARM. Ah! Fie!HEN. What?ARM. Fie! I tell you. Can you not conceive what offence the very mention of such a word presents to the imagination, and what a repulsive image it offers to the thoughts? Do you not shudder before it? And can you bring yourself to accept all the consequences which this word implies?HEN. When I consider all the consequences which this word implies, I only have offered to my thoughts a husband, children, and a home; and I see nothing in all this to defile the imagination, or to make one shudder.ARM. O heavens! Can such ties have charms for you?

Perhaps the first thing to strike usparadoxical as it may sound to say soabout the Athenian Old Comedy is its modernness. Of its very nature, satiric drama comes later than Epic and Lyric poetry, Tragedy or History; Aristophanes follows Homer and Simonides, Sophocles and Thucydides. Of its essence, it is free from many of the conventions and restraining influences of earlier forms of literature, and enjoys much of the liberty of choice of subject and licence of method that marks present day conditions of literary production both on and off the stage. Its very existence presupposes a fuller and bolder intellectual life, a more advanced and complex city civilization, a keener taste and livelier faculty of comprehension in the people who appreciate it, than could anywhere be found at an earlier epoch. Speaking broadly and generally, the Aristophanic drama has more in common with modern ways of looking at things, more in common with the conditions of the modern stage, especially in certain directionsburlesque, extravaganza, musical farce, and even pantomime, than with the earlier and graver products of the Greek mind.

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)

We know not how our play may pass this stage, But by the best of poets in that age THE MALTA-JEW had being and was made; And he then by the best of actors playd: In HERO AND LEANDER one did gain A lasting memory; in Tamburlaine, This Jew, with others many, th other wan The attribute of peerless, being a man Whom we may rank with (doing no one wrong) Proteus for shapes, and Roscius for a tongue, So could he speak, so vary; nor ist hate To merit in him who doth personate Our Jew this day; nor is it his ambition To exceed or equal, being of condition More modest: this is all that he intends, (And that too at the urgence of some friends,) To prove his best, and, if none here gainsay it, The part he hath studied, and intends to play it.

Imagine a world where the Stephen Lawrence Case and the Hillsborough Disaster never made it to court. Since 2012 the government has made sweeping cuts to the provision of legal aid. In this new reality, in cases from civil law to immigration, the voices of those seeking justice are in danger of never being heard.The Invisible tells the stories of ordinary people whose access to legal aid has been denied, examining how the cuts are driving ever deeper cracks into the fabric of our society.Rebecca Lenkiewiczs The Invisible was commissioned by the Bush Theatre, London, where it premiered in July 2015.

In this richly varied selection of Tony Harrisons provocative prose of the last fifty years, the great poet of page, stage and screen presents a lifetimes thinking about art and politics, creativity and mortality. In so doing, he takes us on an extraordinary journey through languages and across continents and millennia, from his Nigerian Lysistrata to the British Raj of his version of Racines Phedre, to post-Communist Europe for the film Prometheus to a one-off performance of The Kaisers of Carnuntum at the Roman amphitheatre in Austria on the Danube, to the peace camp at Greenham Common, and from a Leeds street bonfire celebrating the defeat of Japan by the new atomic bomb to wines made from the vines on volcanoes.A collection of work filled with passion and humour that educates as it dazzles.More than Yeats, Eliot or Auden, more than anyone writing in English this century, and perhaps the two before that as well, Harrison has demonstrated that verse drama remains a living artistic possibility.Observer

The Inca of Perusalem 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 Inca of Perusalem is a comic one-act play written during World War I by George Bernard Shaw. The plot appears at first to be a fairy-tale like story about a fantastical "Inca", but it eventually becomes obvious that the Inca is Kaiser Wilhelm II of Germany.

An inspiring and interactive workbook to help you develop skills for longform improvisation, by one of the UKs top improv performers and teachers.Structured as a twelve-week course, this book provides techniques, advice and exercises that can be done on your own or in groups with activities to complete as you go for learning faster and becoming (more) amazing at improvisation. It draws on the authors own experience of performing and teaching improv around the world, with added gems of wisdom from key experts.Starting with the basics of improvisation, it moves on to explore areas of the craft such as rehearsals, character, editing, form and style; plus career advice including how to cope with bad gigs, jealousy, fear of missing out and your Inner Critic.The Improvisers Way is ideal for improvisers at any level from those new to improv entirely, through those familiar with shortform who are looking to extend their reach, to experienced longform performers and teachers looking to refresh their approach and embrace new ideas. It is also invaluable to anyone looking to discover more about this popular, thrillingly creative and empowering form of performance.By the end, you wont just be a better improviser youll be a better person!Written with the calm and kind wisdom of someone who has been there and done that, here is a wealth of brilliant suggestions to help you improvise better and, perhaps more importantly, help you be better at the job of being an improviser Lee Simpson (The Comedy Store Players, Whose Line Is It Anyway?)Katy Schutte is a leading light of the UK improv scene and this book is as warm, witty, compassionate and funny as she is Tom Salinksy (Spontaneity Shop)