eBooks de Artes Escénicas, página 26 de 109

Stage Directions covers half a lifetime and the whole range of Frayns theatrical writing, right up to a new piece about his latest play, Afterlife. It is also a reflection on his path into theatre: the doubtful beginnings of his childhood, his subsequent scorn as a young man and, surprisingly late in life, his reluctant conversion. Whatever subjects he tackles, from the exploration of the atomic nucleus to the mechanics of farce, Michael Frayn is never less than fascinating, delightfully funny and charming. This book encapsulates a lifetimes work and is guaranteed to be a firm favourite with his legions of fans around the world.

In Stage Design - A Practical Guide Gary Thorne, a freelance theatre set and costume designer, introduces the concept of art and design for performance, drawing on his considerable experience in a wide variety of theatres. The book begins from first principles, and assumes no prior knowledge of the subject. Each chapter contains clear, concise text and informative illustrations; and concludes with practical exercises to, ensure that the reader has got the most out of the book, and stimulating exploration in both two and three dimensions. The book includes examples of the authors work and that of others in the field, illustrating the methods adopted and practised in theatre schools and the more innovative theatre companies.

This is a book about how to beat the living daylights out of another human being safely...Roger Bartlett professional fight director and Master Teacher for the British Academy of Stage & Screen Combat leads you through everything you need to know in order to create and perform unarmed stage fights that are compelling, realistic and, above all, safe.Starting with the essential concepts, including Victim Control and Reversal of Energy, you will learn how to perform all of the following moves: Slapping Punching Kicking Strangling Pulling and Pushing Falling Locking Blocking Each technique is clearly described, extensively illustrated, and accompanied by online videos demonstrating it in slow motion and at full speed. Also included are chapters on understanding and conveying your characters pain, and creating and rehearsing your own fight sequence.For those already trained in stage combat, it will serve as a comprehensive reminder of what you have learned, and supplement your ongoing training. For amateur, fringe and student companies, the book offers a thorough understanding of the practicalities of staging a fight, but also helps you to recognise when you may need to call upon the services of a qualified professional.Whatever your current level of experience, Stage Combat: Unarmed is the essential book for directors, actors, students and teachers, or indeed anyone looking to incorporate safe, effective stage fights into their productions.

This clear and comprehensive manual contains everything you need to know in order to create and portray armed stage fights with the rapier and dagger (or just a rapier) that are dramatically effective, and, above all, safe.Starting with the essential concepts, including footwork, eye contact, targeting and distance, it then takes you step by step through all the key techniques:Performing attack moves including slashing and slicing, thrusting, and cutting Parrying moves and defending yourself against attacks using a single weapon or two weapons together Counterattacks such as taking control of your partners blade and ripostes Each technique is clearly described and extensively illustrated, with accompanying online videos demonstrating every move. Also included are sections on how to put together your own fight sequences, make them dramatically compelling and realistic, and convey your characters pain, wound or death.Whether you are an actor preparing for a role with a sword fight, or a student learning your craft, this book will help you execute the techniques with precision and control, build your confidence and keep you safe. It also helps you to recognise when you may need to call upon the services of a qualified professional. For those already trained in stage combat, it will serve as an invaluable refresher as well as supplementing your ongoing training.Whatever your current level of experience, Stage Combat: Armed is a vital resource for directors, actors, students and teachers, or indeed anyone looking to incorporate safe, effective sword fights into their stage productions.Roger Bartlett is a professional fight director and Master Teacher for the British Academy of Stage & Screen Combat (BASSC), the UKs leading provider of stage-combat training. He is also the author of Stage Combat: Unarmed.

In 1971, Michael Blakemore joined the National Theatre as Associate Director under Laurence Olivier. The National, still based at the Old Vic, was at a moment of transition awaiting the move to its vast new home on the South Bank. Relying on generous subsidy, it would need an extensive network of supporters in high places. Olivier, a scrupulous and brilliant autocrat from a previous generation, was not the man to deal with these political ramifications. His tenure began to unravel and, behind his back, Peter Hall was appointed to replace him in 1973. As in other aspects of British life, the ethos of public service, which Olivier espoused, was in retreat. Having staged eight productions for the National, Blakemore found himself increasingly uncomfortable under Halls regime. Stage Blood is the candid and at times painfully funny story of the events that led to his dramatic exit in 1976. He recalls the theatrical triumphs and flops, his volatile relationship with Olivier including directing him in Long Days Journey into Night, the extravagant dinners in Halls Barbican flat with Harold Pinter, Jonathan Miller and the other associates, the opening of the new building, and Blakemores brave and misrepresented decision to speak out. He would not return to the National for fifteen years.

A continuación encontrarás una serie de datos importantes para patear la ignorancia, chistes, frases deportivas, noticias deportivas y apellidos curiosos, sin orden alguno, sino así, de sorpresa, como las sorpresas que nos dan los deportes. Fueron recolectados durante varios años de mi vida de humorista. De todas maneras, leer este libro es como una competencia atletica. Si arrancas, te estare animando a que lo termines.

Spettri di Henrik Ibsen -Dallincipit del dramma:ATTO PRIMO.Unampia stanza che da sul mare. Porta a sinistra. Due porte a destra. Nel mezzo della stanza una tavola rotonda circondata da seggiole; sulla tavola libri, riviste e giornali. Sul davanti a sinistra una finestra innanzi a cui sta un sofa e un tavolino da lavoro. Nel fondo una serra a vetri, in comunicazione colla stanza. A destra della serra una porta dalla quale si esce per discendere sulla spiaggia. Dietro i vetri il fiord appare melanconico attraverso un velo di pioggia.SCENA I.ENGSTRAND e REGINA.(Engstrand se ne sta presso la porta che mena alla spiaggia. Egli ha la gamba sinistra piu corta dellaltra e sotto il piede una suola di legno. Regina con un inaffiatoio vuoto in mano, cerca dimpedirgli dentrare).REGINA (a mezza voce). Che vuoi? Non moverti. Sei tutto grondante di pioggia.ENGS. È la pioggia del buon Dio, figlia mia.REGINA. Di piuttosto una pioggia del diavolo.ENGS. Buon Gesu come parli, Regina! (fa alcuni passi zoppicando) Ascoltami, volevo dirti.REGINA. Ehi, galantuomo non fate tanto rumore col piede! Il padroncino dorme quassu, proprio sopra noi.

Salto. Nessuno senti le urla precedenti, ma solo limpatto del suo corpo contro il marciapiede. Tutti guardarono il suo corpo inerte a terra. Una pozza cremisi tinse i suoi vestiti.Era cosi buona dicevano tra le lacrime fresche. Si meritava il cielo, si lamentavano. Ma avevano reso la sua vita un inferno. Ignorando tutte le sue grida, annullando la sua essenza e censurando le sue parole. Ignorata in vita.Non ce nessunaltra come Nebun ... infelice e tradita dalla vita; accompagnata dallindifferenza e abbandonata da chi lascoltava. Cosi inizia la sua avventura verso la liberta, ma la sfortuna la persegue e rimane intrappolata a meta strada. Da sola, piu sola che mai. O forse no.

Why does Shakespeare write in the way he does? And how can actors and directors get the most out of his incomparable plays?In Speaking the Speech, Giles Block Master of the Words at Shakespeares Globe sets out to answer these two simple questions. The result is the most authoritative, most comprehensive book yet written on speaking Shakespeares words.Throughout the book, the author subjects Shakespeares language to rigorous examination, illuminating his extraordinary ability to bring his characters to life by a simple turn of phrase, a breath or even a pause. Block shows how we can only fully understand these characters, and the meaning of the plays, by speaking the words out loud.Drawing on characters from across all of Shakespeares plays and looking in detail at Macbeth, The Winters Tale, Hamlet, The Merchant of Venice and Much Ado About Nothing Block covers everything the actor needs to know, including: the essential distinctions between prose, rhymed verse and unrhymed verse, and the different strategies to be used when speaking them; the difference between you and thou; Shakespeares use of silence; and the vital importance of paying attention to Shakespeares original punctuation.Speaking the Speech is a book for actors and directors who want to improve their understanding of Shakespeares language in order to speak it better. It is also a fascinating read for anyone who wants to deepen their appreciation of Shakespeares language and the way it comes to life when spoken aloud.We call Giles our Text Guru at the Globe, partly in jest, and partly out of respect for the depth of his knowledge, the gentleness of his teaching, and the sudden illuminations he can throw across a play. If this book can afford even a small part of the pleasure and insight Giles can provide in person, then it will be a great asset. Dominic Dromgoole, Artistic Director, Shakespeares GlobeGiles deepened my love for Shakespeare and for the way we all speak. I trust you will have a similar experience reading his book. Mark Rylance, from his Foreword

Inspired by real eventsIts better to fight for love than for the land or hate, he always said.He was Roshan MirzaHe could get anywhere without any hindrance. Barriers could not stop him.He was like a spirit, a free spirit, moving through the universe... interacting with everyday life - and walking through another life thats beyond anyones perception He was a spy - but a spy who questioned every convention.He was a new James BondNo guns, no revolver - just poetry and music, that was his tool box.He was out for an unusual quest, the most unusual quest a spy ever had. He wanted to stop the war machines and beat their masterminds in todays world affairs, so he became a part of the machine to challenge its very function. But on his journey for idealism, he got into an impasse: financial pitfalls, disillusion and a broken relationship with the woman of his life who ended up in a web inside a military compound. All this just intensified his quest...He emerged as a sound from the silence... He was the spy who was a lover. Sound from the Silence, on the one hand, goes into the core of grand political conflicts - and on the other hand, reflects the social taboos and misconceptions deeply rooted in the collective psychology of modern men and women in the context of relationship complexities

Sound Design for the Stage is a practical guide to designing, creating and developing the sound for a live performance. Based on the authors extensive industry experience, it takes the reader through the process of creating a show, from first contact to press night, with numerous examples from high-profile productions. Written in a detailed but accessible approach, this comprehensive book offers key insights into a fast-moving industry. Topics covered include: how to analyze a script to develop ideas and concepts; how to discuss your work with a director; telling the emotional story; working with recorded and live music; how to record, create, process and abstract sound; designing for devised work; key aspects of acoustics and vocal intelligibility; the politics of radio mics and vocal foldback; how to design a sound system and, finally, what to do when things go wrong. It will be especially useful for emergent sound designers, directors and technical theatre students. Focusing on the creative and collaborative process between sound designer, director, performer and writer, it is fully illustrated with 114 colour photographs and 33 line artworks. Gareth Fry is an Olivier and Tony award-winning sound designer and an honorary fellow of the Royal Central School of Speech and Drama. It is another title in the new Crowood Theatre Companions series.

Questodramma teatrale dove il protagonista - orfano il cui padre e stato giustiziato senza colpa alcuna a espiazione di crimini mai commessi - lotta per riabilitare la memoria di chi e stato preda innocente di un potere costituito orrendamente illiberale e di parte. Nel 1936, da questopera teatrale molto amata dagli spettatori e dalla critica e stato tratto un film diretto da Alfred Santell con Edward Ciannelli, Burgess Meredith, Margo, e il grande John Carradine.

Lopera e un romanzo breve, un demi-noir. La storia si svolge ai nostr giorni e racconta le vicende di un giovane scrittore, Marco, che dopo un periodo felice, di successo, si trova a vivere esperienze drammatiche.Fa da sfondo per lo piu alle mosse e ai sentimenti del protagonista una citta non troppo grande sulla costa adriatica, con i suoi scorci urbani e paesaggistici. Le caratteristiche del personaggio principale sono la disponibilita , la passione per il suo lavoro, limportanza data allamore e allamicizia, una certa fragilita di fronte alle avversita. Quelle dellantagonista sono il culto dellapparire, dello stato sociale, del proprio ego, la cedevolezza ai bassi istinti. Nella prima parte la trama ruota intorno allo scrittore, nella seconda il personaggio di riferimento e una giovane donna, sposata, ricca, Miriam, il cui destino sincrocia con quello del protagonista. E una persona mite, onesta, ma soccombe alla volonta di un marito dispotico e intrigante. In seguito a dei cambiamenti potra rinascere, ma dovra soffocare il suo spiccato senso di giustizia e il rispetto della veritae racchiudere dentro di se pesanti segreti. Un personaggio di rilievo che coinvolge parecchi soggetti, complicandogli lesistenza, e Esther, la bellissima, seducente , giovane spagnola, che le difficolta dellinfanzia hanno reso dura e arida, ma che al primo vero palpito damore scopre in se una natura sensibile.

Estudo revisional a respeito do riso, do humor e da comédia

It tells the story of a girl who dreams of being a ballerina, but her parents are unable to afford ballet lessons. However, an unexpected event of destiny, ends up being favorable for Sophia to reali

Sonne, Mund und Sterben von Julius Kirchner ist eine lyrische Komodie voller leuchtender Fantasie, traumerischer Verspieltheit und sinnlichem Empfinden. In einer surrealen Welt zwischen Traum und Realitat verkorpern die Figuren Konzepte wie die Zeit, die Sonne und die Nacht. Sie vollziehen in ihrer fragmentierten Sprache eine unerbittliche Suchbewegung, in der sie sich als fluide Identitaten erleben, die weit uber starre Zuschreibungen hinausgehen. Gefangen in ihrem Begehren, bewegen sich die Figuren in Sehnsuchtsschleifen aus haltlosen Gefuhlen, fiebrigem Verlangen und ratselhafter Verklarung.Das Stuck ist eine fulminante Auseinandersetzung mit den Themen Liebe, Verganglichkeit und Identitat, die sich in einer sprachlich dichten und poetischen Erzahlweise entfalten.

O palhaço Radiola chega embriagado em sua casa de mais uma noitada ao léu. Queixa-se da solidão e entende que a sua melhor amiga é de fato a bebida. Bêbado e cansado, adormece e até num sonho os seus

Uma jovem senhora sofre do Mal de Alzheimer, colocando a família descontrolada. Elizabeth, sua filha, não acredita que ela esteja mesmo doente. Acha que tudo é falso e vive em atrito com a mãe e o pa

No fabuloso e recém-inaugurado Teatro Lumière, Nancy, uma famosa atriz francesa, é convidada pelo dono do empreendimento, um rico capitalista de nome Harvele, para fazer um grande espetáculo de inaug

Il presente testo ha una storia particolare. E ricavato da due vicende realmente accadute in epoche diverse. La prima durante la seconda guerra mondiale, la seconda allinizio del terzo millennio. Apparentemente hanno in comune il solo status di militare e la provenienza dalla regione campana, ma poi, la sofferenza patita, anche se per motivazioni assai differenti, li accomuna nel suo atroce manifestarsi ed evolversi. I protagonisti di questi episodi di vita vissuta sono stati ritenuti degni di esserlo anche per un film, pertanto, il gradito compito dello scrivente e stato quello di fondere le due storie per ricavarne un soggetto unico e quindi approntare una sceneggiatura adeguata che trovasse i giusti nessi e le appropriate analogie tra le due storie, senza scendere troppo nel patetico e nel retorico. Il racconto si svolge come se il lettore si trovasse davanti a una macchina da presa che sta girando un film in cui il succedersi delle scene e sotto la guida di un regista.