eBooks de Historia y estudios de arte dramático, página 5 de 49

Tio Vania, texto teatral do dramaturgo russo Anton Tchekhov (1860-1904) encenado pela primeira vez há mais de um século, ganha nova roupagem, originalíssima. O cenário agora são os quadrinhos, e os

O grupo Galpão comemora 30 anos com uma vivência teatral calcada na pesquisa e na experimentação e centrada no trabalho de grupo. E como parte dessas comemorações, dá sequência à publicação de sua ob

El Teatro Independiente del Magisterio, luego llamado Tim Teatro, fue un grupo de teatro independiente que desarrolló una intensa labor entre 1958 y 1976. Lo fundaron formalmente en Rosario, jóvenes de entre dieciseis y veinte años, liderados por Carlos E. Mathus, quien seria siempre el director del grupo. En 1960 el TIM inauguro su sala, donde tambien funcionaron una escuela de teatro y un cineclub. En 1966, migro a Buenos Aires, donde continuo trabajando y luego de presentarse invitado en el VIII Festival Internacional de Teatro de Nancy, Francia, produjo uno de los exitos mayores del teatro argentino, tanto a nivel nacional como internacional: La leccion de anatomia. El TIM fue siempre considerado un teatro de vanguardia. Sus postulados teatrales, inspirados por su director, iban en contra del naturalismo imperante y de muchos conceptos tradicionales del teatro. Sostenia que todos los codigos de comunicacion presentes en el teatro estaban a la par del texto, de modo que no reconocia un origen literario para el teatro. En la interpretacion, los actores del TIM confiaban mas en las imagenes, en los ritmos del habla y en la expresion corporal que en las motivaciones interiores. En sus obras, Mathus y su equipo desecharon las lineas argumentales y todos los rasgos anecdoticos de la puesta en escena. Cuestionaron los mensajes explicitos y hasta las lineas argumentales, prefiriendo presentar escenas sueltas e inconclusas, que el espectador debia completar y secuenciar en su mente. Este libro es la historia del TIM narrada por una de sus protagonistas y presenta un testimonio de la trayectoria del grupo, asi como una exposicion de sus ideas, algunas de las cuales aun hoy desafian ciertas concepciones del teatro.

A trajetória cinematográfica e histórica de Tim Holt analisada em forma de dicionário.

Ever since the signing of the Armistice in 1918, theatre has played an important part in reflecting the experience of the war to end all wars. But on the Home Front, what role did those involved with British theatre play during those tumultuous four years and three months?Till the Boys Come Home salutes British theatre in wartime, when theatres became powerful generators for escapism, for stirring patriotism, for sharing experiences of loss and joy and for raising vast amounts of charity money. It brings to life a Britain where theatre-going peaked in popularity, yet became full of the curious contradictions bred by war. Richly illustrated with original programmes, posters and ephemera, author and critic Roger Foss reveals a theatrical powerhouse, where all sections of the profession from grand Shakespearian knights to lowly concert party artistes were doing their bit, both at home and on the front line.

In "Three Hats," Arthur Shirley masterfully weaves a compelling narrative that delves into the complexities of identity and belonging. The novel is structured around the interwoven lives of its characters, each representing a distinct perspective on the themes of cultural heritage and personal transformation. Shirley employs a lyrical prose style, rich with symbolism and vivid imagery, reminiscent of postmodern literature, while still grounding the narrative in realistic dialogue and relatable scenarios. The book is set against a backdrop of contemporary societal challenges, reflecting tensions in multicultural societies, making it both timely and relevant. Arthur Shirley, a writer of diverse background and experience, draws on his own life experiences as a member of a multicultural community. His academic background in sociology and personal encounters with the challenges of cultural assimilation greatly inform the themes of "Three Hats." Shirleys previous works have often explored the fragility of identity in modern society, and this novel marks a significant evolution in his exploration of these themes, showcasing his growth as a storyteller and thinker. For readers seeking an insightful exploration of self and society, "Three Hats" offers not only a thought-provoking narrative but also an invitation to reflect on ones own identity. Shirleys deft character development and poignant prose make this book a must-read for anyone interested in the intricate dynamics of human relationships in a diverse world.

In "Three Hats," Arthur Shirley crafts a compelling narrative that intertwines the lives of three disparate characters, each represented by a unique hat that symbolizes their aspirations and struggles. The novel, marked by its vivid imagery and intricate character development, delves into themes of identity, societal expectations, and personal transformation. ShirleyAos prose combines lyrical elegance with a conversational tone, allowing readers to engage deeply with the emotional landscapes of his characters, set against a backdrop that mirrors contemporary societal issues. Arthur Shirley, an acclaimed author known for his exploration of human behavior and social dynamics, draws upon his own diverse experiences to fuel the narrative of "Three Hats." Having spent years working in various cultural settings, including education and community activism, ShirleyAos insights into the complexities of identity and the human condition weave seamlessly into the fabric of the novel. His previous works have established him as a thoughtful and empathetic observer of the human experience, and this book is a testament to his growth as a writer. I wholeheartedly recommend "Three Hats" to readers seeking a profound exploration of identity and resilience. ShirleyAos skillful storytelling and nuanced character portrayals invite reflection and connection, making this work not only a captivating read but also a mirror for our own aspirations and societal roles. Its a book that lingers long after the final page is turned.

In "Thespis," W. S. Gilbert masterfully blends satire and humor within a framework that critiques the theatrical world of his time. This comic operetta, first performed in 1871, serves as a clever vehicle for Gilberts characteristic wit, exploring the nature of art and performance through the fantastical tale of a troupe of actors who encounter the mythical god of Satire. The work showcases Gilberts adeptness at intertwining playful language with deeper cultural commentary, a hallmark of his literary style that laid the groundwork for modern musical theatre. The operettas lush musicality, co-created with Arthur Sullivan, enhances its whimsical narrative and highlights the intricate relationship between dialogue and melody, making it a quintessential product of Victorian theatre. W. S. Gilbert was a pivotal figure in the realm of comic theatre, known for his sharp jests and keen observations on society. Born in 1836, his early experiences in law and literature profoundly shaped his unique voice, allowing him to blend elements of comedy and social commentary compellingly. His collaboration with Sullivan, renowned for his melodic genius, further empowered Gilbert to explore themes of absurdity and satire, culminating in works that challenged societal conventions and entertained a wide audience. "Thespis" is highly recommended for readers and theatre enthusiasts alike who appreciate the complexities of humor and social critique within a melodious tapestry. Gilberts incisive commentary remains relevant, making this operetta not just a historical artifact but an enjoyable exploration of artistic authenticity. Dive into the world of "Thespis" and experience the ingenuity of Gilberts storytelling that continues to resonate with todays audiences.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

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.

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.

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.

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!

In "The Voice: Its Production, Care and Preservation," Frank E. Miller offers a comprehensive exploration of vocal technique, merging scientific principles with practical guidelines. This seminal work navigates the intricacies of voice production, detailing anatomical and physiological foundations while emphasizing the significance of proper care and preservation for both singers and speakers. Millers literary style is both informative and accessible, employing clear explanations that reflect his deep understanding of vocal arts, making it an essential text for both practitioners and scholars in the field. Contextually, the book emerges from the early 20th-century evolution of voice pedagogy, aligning with the increasing professionalization of vocal training amidst contemporary socio-cultural shifts in performance art. Frank E. Miller, a respected figure in vocal studies, drew on his extensive background in music education and performance to craft this influential guide. His experience as a performer and educator informs his holistic approach to voice care, integrating traditional methodologies with emerging techniques of the time. This dual perspective enriches the text, situating it as a pivotal resource amidst evolving vocal practices. This book is highly recommended for anyone engaged in vocal performance or pedagogy, offering timeless insights that remain pertinent in todays realm of vocal studies. Whether youre a novice seeking foundational knowledge or an experienced practitioner aiming to enhance your craft, Millers work stands as a beacon of wisdom in the art of voice.

In "The Trysting Place: A Farce in One Act," Booth Tarkington weaves a delightful narrative that juxtaposes humor with sharp social commentary. Set in a singular location, the play unfolds with brisk dialogue and clever misunderstandings, encapsulating the complexities of romantic entanglements and societal expectations of the early 20th century. Tarkingtons mastery of farcical elements is evident as he employs wit and irony to explore themes of love, deception, and the fleeting nature of human connections, all while maintaining a light-hearted tone that draws the audience into the unfolding chaos with each turn of phrase. Booth Tarkington, an influential American novelist and playwright, achieved critical acclaim for his incisive portrayals of American life. His deep understanding of human behavior and societal norms, shaped by his experiences in the Midwest, informed his writing. Tarkingtons works often reflect a tension between tradition and modernity, a theme prevalent in "The Trysting Place," showcasing his ability to navigate both comic and serious undertones within a familiar social landscape. This play is highly recommended for anyone seeking an engaging exploration of romance and farce within a historical context. Tarkingtons keen insights and vibrant characterizations promise a captivating theatrical experience, making it an essential read for enthusiasts of American theatre and anyone interested in the intersection of humor and social critique.