eBooks de Artes Escénicas, página 31 de 109

Rosmersholm di Henrik Ibsen -Dallincipit del libro:Il teatro ibseniano e forse lunico che in tutto il corso del XIX secolo abbia raggiunto un valore di classicita e possa percio legittimamente collocarsi nella storia della letteratura drammatica accanto ai grandi modelli antichi. Per quanto paradossale sembri a prima giunta unaffermazione di tal sorta, di fronte alla fama di tanti moderni drammaturghi e soprattutto avendo locchio alla copiosa svariatissima produzione, onde le diverse nazioni europee hanno arricchito la scena, credo non sia difficile ai piu riflessivi persuadersi della sua verita. In mezzo a tanta farragine che rimane o rimarra di vitale? Basti per tutti lesempio decisivo della Francia, che collassidua fecondissima creazione de propri scrittori ha fatto vivere e tuttora alimenta i nove decimi di quanto viene alla ribalta nei teatri del mondo civile. Si tratta qui, come in altri campi, di prodotti effimeri, che traggono il lor valore da elementi occasionali e contingenti, destinati quindi a sicuro oblio. Rispecchiano momenti specifici della coscienza e della vita, suscitano interessi che sono appunto tanto piu vivaci quanto meno duraturi, ma non giungono mai a fissare, attraverso una tecnica definitiva, qualcuno di quegli elementi umani di valore universale ed eterno, che soli infondono perenne vitalita di poesia nellopera darte.

Rosmer (coming closer to her). Rebeccasuppose I asked you nowwill you be my second wife? Rebecca (is speechless for a moment, then gives a cry of joy). Your wife! Yours! I! Rosmer. Yeslet us try what that will do. We two shall be one. There must no longer be any empty place left by the dead in this house. Rebecca. Iin Beatas place? Rosmer. And then that chapter of my life will be closedcompletely closed, never to be reopened. Rebecca (in a low, trembling voice). Do you think so, John? Rosmer. It must be so! It must! I cannotI will notgo through life with a dead body on my back. Help me to throw it off, Rebecca; and then let us stifle all memories in our sense of freedom, in joy, in passion. You shall be to me the only wife I have ever had. Rebecca (controlling herself). Never speak of this, again. I will never be your wife.

Dieser Morgen bringt uns einen dustern Frieden, und die Sonne selbst scheint trauernd ihr Haupt verhullt zu habenGeht, und erwartet unsre Entscheidung, was in diesem ungluklichen Handel Strafe und was Verzeihung verdient[Ihr aber, getreue Liebende, die ein allzustrenges Schiksal im Leben getrennt, und nun ein freiwilliger Tod auf ewig vereiniget hat, lebet, Juliette und Romeo, lebet in unserm Andenken, und die spateste Nachwelt moge das Gedachtni eurer ungluklichen Liebe mit mitleidigen Thranen ehren!]

Composée en 1595, "Roméo et Juliette" est la deuxième tragédie de Shakespeare ; celui-ci est alors âgé de 31 ans. On peut donc légitimement parler de tragédie de jeunesse.Contrairement à "Titus Andro

Dans la belle Vérone, où nous plaçons notre scène, lantique haine de deux maisons égales en dignité vient déclater par de nouveaux troubles, où le sang des citoyens a souillé les mains des citoyens.

Two households, both alike in dignity,In fair Verona, where we lay our scene,From ancient grudge break to new mutiny,Where civil blood makes civil hands unclean.From forth the fatal loins of these two foesA pair of starcrossd lovers take their life;Whose misadventurd piteous overthrowsDoth with their death bury their parents strife.The fearful passage of their death-markd love,And the continuance of their parents rage,Which but their childrens end naught could remove,Is now the two hours traffic of our stage;The which, if you with patient ears attend,What here shall miss, our toil shall strive to mend.

Véritable tragédie romantique, "Roméo et Juliette" de William Shakespeare explore avec passion les thèmes universels de lamour, du destin et des rivalités familiales. Dans la Vérone de la Renaissance

Este catálogo oferece informações básicas sobre os melhores filmes românticos produzidos ao longo de todo o ´século XX.

Roger Allam discusses playing Falstaff, 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, Roger Allam discusses playing the iconic role of Falstaff in both Henry IV plays in Dominic Dromgooles production for the Royal Shakespeare Company in 2010.This interview, together with the others in the series (with actors such as Simon Russell Beale, Ian McKellen, Patrick Stewart and Harriet Walter), 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.

Informações básicas sobre a obra do ator Allan Lane na condição do investigador rural Rocky Lane.

Editado por ocasião da exposição homônima, o livro foi elaborado em diálogo com a mostra, de modo que sua linguagem gráfica traduz a dimensão das obras fílmicas e sua relação com o espaço. Mas a publ

Una commedia ambientata nellanno 1400 di un genere fantastorico dove il protagonista principale e un Re folle timoroso del potere per via di non sentirsi libero come uomo che desiderava tuttaltro dalla vita. La sua tirannia turbera il suo popolo nonche i suoi senatori a tal punto da farsi odiare anche dalla sua aristocratica famiglia. Un potere regale che non doveva esistere nel destino di un imperatore logorato dalla fiamma della sua stessa corona. Copyright

Richard III by William Shakespeare Richard III is a play by William Shakespeare. It was probably written c. 15921594. It is labelled a history in the First Folio, and is usually considered one, but it is sometimes called a tragedy, as in the quarto edition.Richard III concludes Shakespeares first tetralogy (also containing Henry VI, Part 1, Henry VI, Part 2, and Henry VI, Part 3) and depicts the Machiavellian rise to power and subsequent short reign of King Richard III of England.It is the second longest play in the Shakespearean canon and is the longest of the First Folio, whose version of Hamlet, otherwise the longest, is shorter than its quarto counterpart.The play is often abridged for brevity, and peripheral characters removed. In such cases, extra lines are often invented or added from elsewhere to establish the nature of the characters relationships. A further reason for abridgment is that Shakespeare assumed his audiences familiarity with his Henry VI plays, frequently referring to these plays.

Now is the winter of our discontentMade glorious summer by this sun of York;And all the clouds that lourd upon our houseIn the deep bosom of the ocean buried.Now are our brows bound with victorious wreaths;Our bruised arms hung up for monuments;Our stern alarums changed to merry meetings,Our dreadful marches to delightful measures.Grim-visaged war hath smoothd his wrinkled front;And now, instead of mounting barded steedsTo fright the souls of fearful adversaries,He capers nimbly in a ladys chamberTo the lascivious pleasing of a lute.But I, that am not shaped for sportive tricks,Nor made to court an amorous looking-glass;I, that am rudely stampd, and want loves majestyTo strut before a wanton ambling nymph;I, that am curtaild of this fair proportion,Cheated of feature by dissembling nature,Deformed, unfinishd, sent before my timeInto this breathing world, scarce half made up,And that so lamely and unfashionableThat dogs bark at me as I halt by them;Why, I, in this weak piping time of peace,Have no delight to pass away the time,Unless to spy my shadow in the sunAnd descant on mine own deformity:And therefore, since I cannot prove a lover,To entertain these fair well-spoken days,I am determined to prove a villainAnd hate the idle pleasures of these days.Plots have I laid, inductions dangerous,By drunken prophecies, libels and dreams,To set my brother Clarence and the kingIn deadly hate the one against the other:And if King Edward be as true and justAs I am subtle, false and treacherous,This day should Clarence closely be mewd up,About a prophecy, which says that GOf Edwards heirs the murderer shall be.Dive, thoughts, down to my soul: here

Richard II by William Shakespeare The Life and Death of King Richard the Second, commonly called Richard II, is a history play by William Shakespeare believed to have been written around 1595.It is based on the life of King Richard II of England (ruled 13771399) and chronicles his downfall and the machinations of his nobles. It is the first part of a tetralogy, referred to by some scholars as the Henriad, followed by three plays about Richards successors: Henry IV, Part 1; Henry IV, Part 2; and Henry V.Although the First Folio (1623) includes the play among the histories, the earlier Quarto edition of 1597 calls it The tragedie of King Richard the second.The play spans only the last two years of Richards life, from 1398 to 1400. It begins with King Richard sitting majestically on his throne in full state, having been requested to arbitrate a dispute between Thomas Mowbray and Richards cousin, Henry Bolingbroke, later Henry IV, who has accused Mowbray of squandering money given to him by Richard for the kings soldiers and of murdering Bolingbrokes uncle, the Duke of Gloucester.Bolingbrokes father, John of Gaunt, 1st Duke of Lancaster, meanwhile, believes it was Richard himself who was responsible for his brothers murder. After several attempts to calm both men, Richard acquiesces and it is determined that the matter be resolved in the established method of trial by battle between Bolingbroke and Mowbray, despite the objections of Gaunt.

Catálogo cinematográfico.

Cuaderno de apuntes de un titiritero recoge más de una decena de textos del autor donde reflexiona y dialoga con los conceptos, representantes y espectáculos de actuación y trabajo con títeres. Figuras como Dora Alonso, los hermanos Camejo, Stanislavski y Obraztsov, confluyen para armar las pautas y cimientos sobre los que Ruben Dario Salazar funda su obra y su conviccion de titiritero.

En 1948 Uta Hagen sustituyó temporalmente a la actriz Jessica Tandy en el papel de Blanche en Un tranvía llamado Deseo en Broadway. Ante las reticencias de Marlon Brando, propuso que ensayaran los cinco primeros minutos para ver si sus interpretaciones encajaban: ¿Por que funciono? Los dos estabamos totalmente familiarizados con el lugar, los objetos y las circunstancias. Ninguno fue caprichoso ni egoista. Ninguno violo las intenciones de nuestros personajes. Las cuatro semanas que siguieron nunca dejaron de ser una aventura. En Respeto por la interpretacion, un clasico de la pedagogia teatral desde su publicacion en 1973, la actriz se sirve de las obras que interpreto -de El huerto de los cerezos y Tio Vania a Casa de muñecas y ¿Quien teme a Virginia Woolf? para ilustrar sus principios sobre el arte y el oficio de la interpretacion. Se dirige en todo momento al potencial actor de tu a tu, descifrando con el, a traves de ejercicios y trabajos preparatorios, las claves de su tecnica de la sustitucion, es decir, la identificacion con experiencias emocionales y sensoriales que guien al interprete hasta conseguir una actuacion interiorizada. Este encuentro con uno mismo, a traves de una serie continua y solapada de sustituciones de nuestras propias experiencias y recuerdos mediante el uso de una imaginativa extension de las realidades, es una de las claves del libro.

Catálogo cinematográfico.

Seleção dos melhores e mais representativos filmes produzidos pelos estúdios da Republic Pictures, desde a data da sua fundação.