Canon: ¿pedagogía o propaganda? Calderón en la encrucijada de los teatros comercial, institucional, universitario e independiente (1927-1980) es un recorrido por la historia de la recepción escénica de la obra del dramaturgo barroco en las decadas centrales del siglo XX, desde su reivindicacion por el entorno de la Generacion del 27 hasta su practica desaparicion de las carteleras en los años setenta. Con la mirada siempre puesta en la dinamica de la profesion teatral, examinaremos las distintas lecturas que los creadores de estas cinco decadas hicieron a partir (de cierta seleccion) del repertorio de nuestro autor, sin perder de vista el juego de fuerzas que establecieron con los agentes de los campos politico, economico, religioso, artistico, literario o educativo al decidir montar o no a Calderon, elegir unas obras u otras de toda su produccion y abordarlas con determinados criterios esteticos e ideologicos. El uso, el abuso y el desuso de los textos de Calderon y su periplo por los escenarios españoles de los ultimos años de la Restauracion, la II Republica, la Guerra Civil, la dictadura de Franco y la Transicion es imprescindible para entender como los directores, actores, dramaturgos y demas gentes de teatro nos acercamos hoy en dia al autor de La vida es sueño.

Este volumen contiene el estudio, la edición crítica y la anotación filológica del drama de honor calderoniano El pintor de su deshonra.El estudio preliminar ofrece informaciones sobre aspectos relevantes de la comedia, como sus temas y fuentes, sus representaciones y la historia de su recepcion a lo largo de los siglos, con las numerosas y controvertidas interpretaciones que se han hecho de ella y de su autor. La gran variedad interpretativa, con diversas perspectivas (etica, moral, religiosa, social, historica, psicologica, estetica, etc.), pone de relieve la importancia de la obra frente a la critica y su complejidad; y en ella destacan la polemica acerca del concepto del honor y el uso de este tema como resorte dramatico. Asimismo, se ofrecen algunos estudios respecto a su estructura dramatica y a sus personajes principales.La fijacion del texto de la comedia se ha realizado mediante una minuciosa labor de analisis y cotejo de 24 testimonios 22 impresos y 2 manuscritos de los siglos XVII y XVIII. Su analisis se presenta en el estudio textual, que se ha preparado con base en lo inventariado en el aparato de variantes y teniendo en cuenta la transmision del texto y las filiaciones en el estema.La anotacion filologica tiene por objeto aportar datos que faciliten la comprension del texto y de su contexto, con referencias linguisticas, literarias, artisticas, historicas, culturales, mitologicas, etc.

O livro Egbé Orún: do lado de cá do Atlântico explora o conceito de Egbé Orún dentro das tradições espirituais iorubás. Egbé Orún refere-se à comunidade espiritual formada por ancestrais, divindades

The Bruntwood Prize for Playwriting is the largest playwriting competition in Europe. Since its inception twenty years ago, it has received over 17,325 submissions, and awarded prizes to thirty-eight different plays across its various categories.This anthology brings together five of those extraordinary winning plays in a wide-ranging selection reflecting the history and scope of the prize and the inestimable impact it has had over the past two decades.Pretend You Have Big Buildings by Ben Musgrave (Bruntwood Prize, 2005) is a tender and funny play about identity, loss, and growing up in Romford in the shadow of Canary Wharf.Winterlong by Andrew Sheridan (joint winner, 2008) is a shattering, heartbreaking play about searching for hope in a damaged world.Three Birds by Janice Okoh (Bruntwood Prize, 2011) is a darkly comic drama about three young siblings who find themselves home alone, without adult care.Wish List by Katherine Soper (Bruntwood Prize, 2015) is a powerful exploration of what our labour is worth and how life can be lived when the system is stacked against you.untitled f*ck m*ss s**gon play by Kimber Lee (International Award, 2019) is a wickedly funny satire that wrestles with history and explodes cultural stereotypes.Also included is an incisive essay by theatre historian Rachel Clements on the impact of the Bruntwood Prize on the theatre landscape, as well as introductions by Sarah Frankcom and each of the selected authors.

Orações, Rituais, Magias e Feitiços de São Cipriano para ter Proteção e Fazer Pedidos é um livro de orações para obter a salvação e a proteção de São Cipriano na vida financeira, profissional, espiri

Nuevas sonoras aves muestra algunas de las direcciones que está tomando el nuevo calderonismo, representado en estas páginas por una selección de estudiosos austriacos, españoles y estadounidenses. Estos investigadores dilucidan aspectos clave de la obra de Calderon fijandose en temas como el secreto, la reescritura, la historia de la representacion teatral, las fuentes, el uso de las referencias pictoricas o incluso la satira politica, que nos revelan al "otro Calderon" tan buscado por los criticos

Este livro é um guia sombrio e poderoso para aqueles que ousam explorar os mistérios da necromancia. Dentro de suas páginas, o leitor encontrará os segredos para invocar espíritos, manipular a energia da morte, e dominar rituais ancestrais capazes de transformar ossos, sangue, e restos mortais em verdadeiras ferramentas de poder.

Ten short plays by Caryl Churchill, written for stage, radio and TV, selected and introduced by the author.This collection of short plays by one of our leading playwrights opens up a little-known aspect of her writing, and demonstrates her remarkable versatility and breadth of concern.Abortive (Radio 3, 1971)The After-Dinner Joke (BBC TV, 1978)The Hospital at the Time of the Revolution Hot Fudge (Royal Court Theatre, 1989)The Judges Wife (BBC TV, 1972)Lovesick (Radio 3, 1967)Not Not Not Not Not Enough Oxygen (Radio 3, 1971)Schrebers Nervous Illness (Radio 3, 1972)SeagullsThree More Sleepless Nights (Soho Poly Theatre, 1980)The volume also includes an introduction by the author.

Spanning almost ten years and embracing a remarkable range of style and subject matter, this third volume of Churchills Collected Plays, introduced by the author, contains:Icecream - an unsettling look at British attitudes to America, and vice versa Mad Forest - Churchills response to the Romanian Revolution The Skriker - a spellbinding piece combining English folk tales with modern urban life Thyestes - a bleakly eloquent new translation of Senecas Roman tragedy (Sunday Times).Plus two collaborative pieces combining word and dance:Lives of the Great Poisoners - a libretto to music by Orlando Gough and choreography by Ian Spink A Mouthful of Birds - written with David LanCaryl Churchill has been hailed as a dramatist who must surely be amongst the best half-dozen now writingThe Times

The second collection of plays from the multi-award-winning Irish playwright, Enda Walsh.This volume of remarkable plays charts the development of one of the most strikingly original playwrights in contemporary theatre. It collects together four full-length plays three of which were produced by Galways Druid Theatre Company, three of which were performed at the Edinburgh Fringe, and two of which transferred to Londons National Theatre along with two fascinating short plays and a Foreword by the author.The Walworth Farce (2006) is a madcap yet tender play about what can happen when we become stuck in the stories we tell about our lives. The New Electric Ballroom (2008) is a dark, glitter-dusted fable of the emotionally stultifying effects of small-town life. In a savage and riveting take on the classic Greek myth of Odysseuss wife, Penelope(2010) sees four ridiculous men facing their inevitable deaths, and playing for an unwinnable love. Ballyturk (2014) saw Walsh reuniting with actor Cillian Murphy after Disco Pigs and Misterman for a jaw-droppingly physical play in which the lives of two men unravel over the course of ninety minutes. Also included in this volume are two short plays, My Friend Duplicity (2010), which went on to inspire Ballyturk, and Room 303 (2011).One of the most fiercely individual voices in the theatre todayNew York TimesEnda Walsh makes his own distinctive stage music in the fury of his writing talent and the irresistible surge of his blatant theatricalityIndependent

Acclaimed for his screenplays for TV dramas including Skins, Shameless, The Fades, This is England 86/88/90 and Glue, Jack Thorne first emerged as a writer of unflinching, compassionate and often challenging plays for the stage. Described as a powerful voice for Britains youth (Independent), he remains one of the most distinctive talents working in theatre today and was chosen by JK Rowling to write the script for Harry Potter and the Cursed Child.This collection, with a revealing introduction by the author, covers a period of intense creativity beginning with When You Cure Me (Bush Theatre, 2005), a painful and painfully funny play about being very young and in love, and coping with serious illness at the same time. One of the years finest pieces of new writingEvening StandardIn the monologue play Stacy (Arcola Theatre, 2007), twenty-something Rob tells the story of a confusing couple of days in which everything in his life seems to have gone wrong. A pin-sharp, brilliant piece of workTime Out2nd May 1997 (Bush Theatre, 2009) distils all the euphoria and despair of New Labours landslide electoral victory into three stories told with quiet profundity and verve (Telegraph), while Bunny (Edinburgh Fringe, 2010) is a white-knuckle ride through the streets of contemporary Britain, written for a solo female performer. TerrificScotsmanRed Car, Blue Car is a heartbreaking short play about guilt, grief and responsibility, written for and performed at the Bush in 2011.Finally, Mydidae (Soho Theatre, 2012), a two-hander set entirely in a bathroom, is an electrifyingly intimate account of the darker side of love which hits audiences like a punch in the gut (Whatsonstage.com)An absolutely top-class playwright JK Rowling

Since her play Steel opened in her native Sheffield in 2018, Chris Bush has rapidly become one of the UKs most successful and widely staged playwrights, with her plays on stage at the National Theatre, in the West End, and across Europe. Celebrated for her spirited dissections of power, female agency and northern identity, her work is infused with wit, empathy, and a powerful sense of place and belonging.Included here are five of her plays, all first performed between 2018 and 2021, together with a revealing introduction in which she reflects on the tumultuous period from which they emerged.Steel (Sheffield Theatres, 2018) is a political epic constructed from minimal resources, a two-hander spanning three decades of women in politics. Sharp, witty and uncannily topicalThe StageFaustus: That Damned Woman (Headlong, 2020) is a radical reimagining of the classic tale, asking what women must sacrifice to achieve greatness. Original, ambitious and fantastically revisionistGuardianNine Lessons and Carols(Almeida Theatre, 2020) is a play, with songs by Maimuna Memon, about connection and isolation, forged during the Covid pandemic, exploring what we hold on to in troubled times. A reminder of the power of theatre and our need for itTelegraphHungry (Paines Plough, 2021) is a pithy two-hander about food, love, class and grief in a world where theres little left to savour. Reconfirms Chris Bush as one of our greatest, most relevant contemporary playwrightsBroadway World Not the End of the World (Schaubuhne, Berlin, 2021) is a daringly theatrical investigation of the climate crisis through the perspectives of class, patriarchy and colonialism. Staggering Bushs remarkable text melds a ruthless structural concept with exquisite lyricismGuardianOne of our most prolific and arresting writersEvening StandardA writer of great wit and empathyThe Times

Five ambitious and exciting plays by the multi-award-winning playwright, hailed as one of the prime movers in a new golden generation of British playwrights (Independent), and introduced by the author.Earthquakes in London (National Theatre & Headlong, 2010) is an epic drama about climate change, population explosion, social breakdown and worldwide paranoia, travelling from 1968 to 2525 and back again. The theatrical equivalent of a thrilling roller-coaster ride (Daily Telegraph)Love, Love, Love (Paines Plough & Drum Theatre Plymouth, UK tour, 2010; Royal Court & Paines Plough, 2012) examines the baby boomer generation, from coming-of-age in the 1960s to retirement-age more than forty years later, in a play that does the clash of generational world views with a devastating precision (Guardian).The Enemy is a short play in which a journalist seizes an opportunity to interview the man who shot Osama bin Laden. It was staged by Headlong as part of Decade (St Katherines Dock, London, 2011), exploring 9/11 and its legacy.13 (National Theatre, 2011) is a panoramic drama in which a young man returns to London, a city riven by social protest and upheaval, with a radical vision for the future. Premiered on the Nationals largest stage, it confirmed Bartletts ability to tackle epic themes with supreme assurance: His ambition is distinctive and immense (Evening Standard).Medea (Headlong, UK tour, 2012) is a startlingly modern version of Euripides tragedy, exploring a womans private fury at her husbands infidelity, while imprisoned in her marital home. A savage play for today, superbly well done (Mail on Sunday)

Since her debut in 2008, Lucy Kirkwood has firmly established herself as a leading playwright of her generation, the writer of a series of savagely funny, highly intelligent and beautifully observed plays that tackle the pressing issues of our times.This collection, with an introduction by the author, brings together five of her plays, starting with the wild and riotously funny farce, Tinderbox (Bush Theatre, 2008), a disturbing vision of a dystopian future where England is dissolving into the sea, realised with off-kilter imaginative flair (The Times).Written for Clean Break theatre company, it felt empty when the heart went at first but it is alright now (Arcola Theatre, 2009; winner of the John Whiting Award) is a devastating report from the hidden world of Eastern European women trafficked to London to work in the sex industry.The previously unpublished small hours (Hampstead Theatre, 2011), a collaboration with Ed Hime, directed by Katie Mitchell, is an intimate dissection of the claustrophobic world of a new mother struggling to cope on her own.The sharply satirical NSFW (Royal Court, 2012) is a richly absorbing and inventive (Telegraph) look at power games, privacy and gender politics in the media.The volume concludes with Chimerica (Almeida Theatre and West End, 2013), a gripping and provocative examination of the shifting balance of power between East and West. Winner of multiple awards, including the Olivier and Critics Circle Awards for Best New Play, the Evening Standard Best Play Award and the Susan Smith Blackburn Prize, Chimerica is gloriously rich and mind-expanding (Guardian), and a tremendously bold piece of writing (Evening Standard).Kirkwood is the most rewarding dramatist of her generation Independent

Rona Munros vividly imagined historical cycle brings to life three generations of Stewart kings who ruled Scotland in the tumultuous fifteenth century.James I: The Key Will Keep the Lock explores the complex character of the colourful Stewart King poet, lover and law-maker.Captured at the age of 13 and crowned King of Scots in an English prison, James I of Scotland is delivered home 18 years later with a ransom on his head and a new English bride. The nation he returns to is poor: the royal coffers empty and his nobles ready to tear him apart at the first sign of weakness. Determined to bring the rule of law to a land riven by warring factions, James faces terrible choices if he is to save himself, his Queen and the crown.James II: Day of the Innocentsdepicts a violent royal playground from the perspective of the child King and his contemporaries, in a terrifying arena of sharp teeth and long knives.James II becomes the prize in a vicious game between Scotlands most powerful families. Crowned when only six, abandoned by his mother and separated from his sisters, the child King is little more than a puppet. There is only one friend he can trust: William, the future Earl of Douglas. As James approaches adulthood in an ever more threatening world, he must fight to keep his tenuous grip on the crown while the nightmares of his childhood rise up once more.James III: The True Mirror, like the King himself, is colourful and unpredictable, turning its attention to the women at the heart of the royal court.Charismatic, cultured, and obsessed with grandiose schemes that his nation can ill afford, James III is by turns loved and loathed. Scotland thunders dangerously close to civil war, but its future may be decided by James resourceful and resilient wife, Queen Margaret of Denmark. Her love and clear vision can save a fragile monarchy and rescue a struggling people.Each play stands alone as a unique vision of a country tussling with its past and future; viewed together the cycle creates an intricate and compelling narrative on Scottish culture and nationhood, full of playful wit and boisterous theatricality.The James Plays premiered at the Festival Theatre, Edinburgh, in August 2014 as part of the Edinburgh International Festival, before transferring to the National Theatre, London. The original three-play cycle was named Best New Play at the Evening Standard Theatre Awards 2014.

Ten years after 9/11, twenty international writers respond to the defining event of our times.Published here are their individual plays, which woven together formed the basis of Decade, an immersive theatrical production from Headlong theatre company, first staged at Commodity Quay, St. Katharines Dock, London, in 2011.The writers: Samuel Adamson, Mike Bartlett, Alecky Blythe, Adam Brace, Ben Ellis, Ella Hickson, Samuel D. Hunter, John Logan, Matthew Lopez, Mona Mansour, DC Moore, Abi Morgan, Rory Mullarkey, Janine Nabers, Lynn Nottage, Harrison David Rivers, Simon Schama, Christopher Shinn, Beth Steel, Alexandra Wood.

Four full-length plays and two previously unpublished shorts from the multi-award-winning author of Jerusalem.Jez Butterworth burst onto the theatre scene aged twenty-five with Mojo, one of the most dazzling Royal Court main stage debuts in years (Time Out). This first volume of his Collected Plays contains that play plus the three that followed, as well as two short one-person pieces published here for the first time everything in fact that precedes Jerusalem, unarguably one of the best dramas of the twenty-first century (Guardian).Plays One includes:Mojo, staged in 1995 but set in the Soho clubland of 1958, superbly captures the atmosphere of the infant British rock and roll scene where seedy low-lifers hustle for the big time (Daily Telegraph). It is Beckett on speed (Observer) by a dramatist of obvious talent and terrific promise (The Times).The Night Heron (2002) is set in the Cambridgeshire Fens amongst assorted oddballs, birdwatchers and the local constabulary. Its funny, its sad, its haunting and it also strangely beautiful. Above all, it is quite unlike anything youve ever seen before (Daily Telegraph).In The Winterling (2006) a gangland fugitive is visited by two associates from the city who have other things on their mind than a jolly reunion. The dialogue is testosterone taut, a sense of menace invades every conversation... and as tales of torture and treachery unfold, the black comedy never misses (Time Out).Leavings(previously unpublished), a short monologue about an old man whose dog has gone missing.The housing estate in Parlour Song (2008) is a place of illicit desire and painful memories, of bad dreams and mysterious disappearances... a play that combines the comic, the erotic and the downright disconcerting with superb panache (Daily Telegraph).The Naked Eye (previously unpublished), a short monologue about a family preparing to watch Halleys Comet as it passes through the night sky.Introducing the plays is an interview with Jez Butterworth specially conducted for this volume.

Reunidas por primera vez en un solo volumen y tras dos años de ambicioso y cuidado trabajo editorial, ven la luz un total de diecisiete piezas teatrales, en su gran mayoría inéditas, que se encontraban hasta ahora dispersas en distintos archivos personales e institucionales. Mil paginas de unas obras desafiantes y revolucionarias que acabaron prohibidas por la censura y obligaron a su autor al exilio. En ellas ya se prefiguran algunos de los temas, tramas y personajes que mas tarde caracterizaran tambien su narrativa, asi como una destreza que el mismo consideraria crucial en su escritura: el dominio de los dialogos.En su teatro se pueden distinguir dos etapas. La primera, aun en España, se caracteriza por sus ecos de picaresca, esperpento y voces lorquianas. En la segunda, ya en Francia, se acerca al teatro del absurdo y al surrealismo. Su escritura es una interseccion entre tradiciones, que auna transgresion y lirismo. La alegoria le sirve de recurso para reflejar la sociedad del momento, pero tambien trascenderla en un revelador analisis atemporal de los mecanismos del poder y su contrapunto: figuras disidentes que señalan las fisuras y rompen los tabues para vivir de acuerdo a sus propias reglas.Listado de obras que contiene el volumen:Doña Frivolidad (1955), Unos muertos perdidos (obra perdida), Historia privada de un pequeño pueblo (1959), Verano (1959), Elecciones generales (1959-1960), Fedra en el sur (obra perdida), El tribunal, Prometeo Jimenez, revolucionario (1961), Dialogos de la herejia (1961; nueva version 1980), El salon, Los gatos (1963), Balada matrimonial (1964-1965; nueva version 1996), Queridos mios, es preciso contaros ciertas cosas (1965-1966), Mil y un mesias (1966), Adorado Alberto (1968), Prepapa (1968), Cena con Mr. & Mrs. Q. (1969; nueva version 1996), Sentencia dictada contra P. y J. (1970; nueva version 1993), Interview de Mrs. Muerta Smith por sus fantasmas (1970-1972).Tierra mia, pais mio, hare como los viejos guerreros; no quedara en pie nada que recuerde al pasado, tu opio. Te arrasare primero y luego te construire. Tu proximo arbol no sera el viejo arbol que dio sombra a tantas iniquidades. Sera nuevo y dara sombra a verdades nuevas. Tu proximo pajaro no cantara en mañanas tristemente conocidas. Seran mañanas diferentes, alegres, con una tarea distinta. Una tarea humana que llevara al hombre al conocimiento de su fuerza, de su libertad, donde no quedara rencor ni sombra de esclavitud. Y te proyectaras con hijos verdaderos, que te conozcan y te superen. Tierra mia, pais mio, esperame. Yo pienso en ti. Lucio, Mil y un mesias. A. G. A.

After the breakout success of his early work for stage and screen, Jack Thorne turned for inspiration to his own family for a series of plays about hope, idealism and domestic politics. The work in this collection five full-length plays and two shorts showcases his extraordinary ability to combine electrifying dialogue with heartfelt warmth, candour and humour.Hope(Royal Court Theatre, 2014) is a funny and scathing fable about the leaders of a local council faced with savage funding cuts. A surprisingly entertaining state-of-the-nation drama The StageThe Solid Life of Sugar Water (Graeae/Theatre Royal Plymouth, 2015) is an intimate, tender play about loss, hurt and rediscovery. Startlingly good... an adult play in the very best senseThe TimesJunkyard(Headlong, 2017) is a joyful celebration of imaginative play, a musical drama about a group of young people tasked with building a playground out of junk. Genuinely funny and poignantWhatsOnStagethe end of history... (Royal Court, 2019) is a moving and sophisticated portrait of the impact of political idealism on a family. Clever and highly intriguingIndependentAlso included are Burying Your Brother in the Pavement, written for the National Theatre Connections Festival in 2008, which tackles complex themes of grief, violence and sexuality with fierce compassion and wild imagination; and two short plays: Whiff Whaff and Boo.I think these plays are about love, about heroes, about trying to understand how to be heroic, about trying to understand how to lead a good life Jack Thorne, from his IntroductionJack Thorne is Britains hottest playwright and screenwriterThe TimesJack Thorne never ceases to stimulate and entertainEvening StandardThorne is a writer of immense emotional intelligence and his dialogue regularly devastatesThe Stage

Three options, as I see it theyll kill it off entirely, youll let it die of natural causes, Im going to make it live again.When the owner of a Sheffield scissor manufacturer dies, the future of the factory site falls into uncertainty. Can it be reborn as a fashionable music venue, converted into luxury apartments, or somehow reinvigorated so the old business can survive?Theres more than just money or bricks and mortar at stake. Its about knowing where you fit in the world knowing that somewhere theres still a place for you.Fresh, funny and heartfelt, Rock / Paper / Scissors are three intricately interwoven plays by Chris Bush about family, heritage and legacy. They were first performed simultaneously with the same cast moving between three theatres in Sheffield the Crucible, the Lyceum and the Studio as part of Sheffield Theatres fiftieth birthday celebrations in 2022.While the three plays can be enjoyed separately, they also offer a uniquely rewarding opportunity for any company looking to take on the challenge of staging them together.