Curt Goetz and Celebrity in the Third Reich
... When he went back to locate the boat, he could not find it, and so he caught the last train back into town. But we was so exhausted from the day's exertions that he slept through the stop at his station and woke up five stations later, in another city. When he awoke, he saw a circus train parked on ...
... When he went back to locate the boat, he could not find it, and so he caught the last train back into town. But we was so exhausted from the day's exertions that he slept through the stop at his station and woke up five stations later, in another city. When he awoke, he saw a circus train parked on ...
Japanese Theatre
... express volumes with a gesture is enhanced by their use of various hand properties, the most important of which is the folding fan (chukei). The fan can be used to represent an object, such as a dagger or ladle, or an action, such as beckoning or moon-viewing. ...
... express volumes with a gesture is enhanced by their use of various hand properties, the most important of which is the folding fan (chukei). The fan can be used to represent an object, such as a dagger or ladle, or an action, such as beckoning or moon-viewing. ...
teatro da garagem
... TEATRO DA GARAGEM is a theatre company that started its professional work in 1989 in Lisbon, Portugal. Its artistic work is based on research and experiencing new paths in play writing and Theatre making. The company was founded by Carlos J. Pessoa, among others, who remained the artistic director a ...
... TEATRO DA GARAGEM is a theatre company that started its professional work in 1989 in Lisbon, Portugal. Its artistic work is based on research and experiencing new paths in play writing and Theatre making. The company was founded by Carlos J. Pessoa, among others, who remained the artistic director a ...
Japanese Theater
... express volumes with a gesture is enhanced by their use of various hand properties, the most important of which is the folding fan (chukei). The fan can be used to represent an object, such as a dagger or ladle, or an action, such as beckoning or moon-viewing. ...
... express volumes with a gesture is enhanced by their use of various hand properties, the most important of which is the folding fan (chukei). The fan can be used to represent an object, such as a dagger or ladle, or an action, such as beckoning or moon-viewing. ...
Japanese Theatre
... express volumes with a gesture is enhanced by their use of various hand properties, the most important of which is the folding fan (chukei). The fan can be used to represent an object, such as a dagger or ladle, or an action, such as beckoning or moon-viewing. ...
... express volumes with a gesture is enhanced by their use of various hand properties, the most important of which is the folding fan (chukei). The fan can be used to represent an object, such as a dagger or ladle, or an action, such as beckoning or moon-viewing. ...
The Use of Theatrum Mundi in Shakespeare`s comedy As You Like It:
... life, but which were exaggerated through the acting of comedians that, in the majority of cases, had no text. This implies that these actors used improvisation to accomplish the purposes that their director asked them to. Situations were planned, but they were developed through the imagination of th ...
... life, but which were exaggerated through the acting of comedians that, in the majority of cases, had no text. This implies that these actors used improvisation to accomplish the purposes that their director asked them to. Situations were planned, but they were developed through the imagination of th ...
A STUDY IN 19TH CENTURY BENGALI THEATRE
... Having said that, the fact cannot be denied that when theatre passed on from the ‘Babu’s to the middle class intelligentsia. It indeed became a powerful medium of communication. it aptly reflected various local reforms, mass protests, class conflicts and went beyond the access of a handful to the ou ...
... Having said that, the fact cannot be denied that when theatre passed on from the ‘Babu’s to the middle class intelligentsia. It indeed became a powerful medium of communication. it aptly reflected various local reforms, mass protests, class conflicts and went beyond the access of a handful to the ou ...
The Illusion - Theatre Pro Rata
... own time and placed his magician in his home country of France. Yet the story of a father who has alienated his son and longs to reconnect with him is one that plays out again and again in time. In the 21st century, “magic” surrounds us in the form of technological advances that most of us use on a ...
... own time and placed his magician in his home country of France. Yet the story of a father who has alienated his son and longs to reconnect with him is one that plays out again and again in time. In the 21st century, “magic” surrounds us in the form of technological advances that most of us use on a ...
Postdramatic Theatre, Hans-Thies Lehmann, trans. Karen Jürs
... ceremonial and scenic works of the 1980s, replete with memory, death, ghosts, catastrophe and history, mark a significant departure from dramatic theatre and a return to the ritual origins of theatre. Working on memory and the past, Kantor makes the break with linear time preferring the circularitie ...
... ceremonial and scenic works of the 1980s, replete with memory, death, ghosts, catastrophe and history, mark a significant departure from dramatic theatre and a return to the ritual origins of theatre. Working on memory and the past, Kantor makes the break with linear time preferring the circularitie ...
lysistrata programme - Auckland Theatre Company
... of guitar). We don’t know what the music was like but one thing is for sure, it can’t have been like the static and remote sounds you hear on YouTube. The Greeks knew how to party. The music in this production of Lysistrata isn’t an attempt to be realistic to history but to represent how it might ha ...
... of guitar). We don’t know what the music was like but one thing is for sure, it can’t have been like the static and remote sounds you hear on YouTube. The Greeks knew how to party. The music in this production of Lysistrata isn’t an attempt to be realistic to history but to represent how it might ha ...
Theatre Arts - The University of Iowa 2016
... The department is one of three academic units in the Division of Performing Arts. Students have the opportunity to earn a major in theatre arts and a second major in one of the other units within the division—dance or music. It also participates in offering the division's Certificate in Arts Entrepr ...
... The department is one of three academic units in the Division of Performing Arts. Students have the opportunity to earn a major in theatre arts and a second major in one of the other units within the division—dance or music. It also participates in offering the division's Certificate in Arts Entrepr ...
Bertolt Brecht‟s Concept of „Epic-drama‟ and Alienation Theory
... dramatist. His aim as a dramatist was to give the mood of the whole world objectively and not of dramatist‟s own private mood or his own emotions and thought. Therefore, he emphasizes the intellectual and objective method of writing the play and presenting it on the stage. According to him-drama is ...
... dramatist. His aim as a dramatist was to give the mood of the whole world objectively and not of dramatist‟s own private mood or his own emotions and thought. Therefore, he emphasizes the intellectual and objective method of writing the play and presenting it on the stage. According to him-drama is ...
The Libation Bearers Aeschylus / Tony Harrison Heinar Piller
... About the Authors … CHARLES DICKENS (1812-1870): British novelist, generally considered the greatest of the Victorian period. The defining moment of Dickens's life occurred when he was 12 years old. With his father in debtors' prison, he was withdrawn from school and forced to work in a factory. Th ...
... About the Authors … CHARLES DICKENS (1812-1870): British novelist, generally considered the greatest of the Victorian period. The defining moment of Dickens's life occurred when he was 12 years old. With his father in debtors' prison, he was withdrawn from school and forced to work in a factory. Th ...
FEATS 2000 programme
... he is actually not an actor at all, but an accountant, and inadvertently stumbles on to a stage where he is mistakenly taken for an ill actor's understudy and told that he will have to take over the role. But as in all actors' nightmares, George doesn't know what play is being performed, nor the rol ...
... he is actually not an actor at all, but an accountant, and inadvertently stumbles on to a stage where he is mistakenly taken for an ill actor's understudy and told that he will have to take over the role. But as in all actors' nightmares, George doesn't know what play is being performed, nor the rol ...
Approaches to Acting Meyerhold and Boal Bree Smith
... Meyerhold used the Mask as a device that could capture the imagination and attention of the audience. The mask could be created by anything ranging from make-up to facial expression, as long as it depicted the character in stipulation with it’s external qualities. The mask is contradictory in nature ...
... Meyerhold used the Mask as a device that could capture the imagination and attention of the audience. The mask could be created by anything ranging from make-up to facial expression, as long as it depicted the character in stipulation with it’s external qualities. The mask is contradictory in nature ...
LTM PANTOMIME HISTORY – The Early Years
... “Bluebeard and Brer Anancy” came to be called just “Busha Bluebeard”. The character of Bluebeard was made to fit that of an estate overseer, called Busha in Jamaica. Its first scene developed out of creative drama sessions held at a summer school at Knox College in 1958. Noel Vaz, with at least seve ...
... “Bluebeard and Brer Anancy” came to be called just “Busha Bluebeard”. The character of Bluebeard was made to fit that of an estate overseer, called Busha in Jamaica. Its first scene developed out of creative drama sessions held at a summer school at Knox College in 1958. Noel Vaz, with at least seve ...
Grecian Theater in Philadelphia, 1800-1870
... the Revolutionary War, Philadelphia’s playhouses had either been adapted from existing, utilitarian buildings, like the waterfront warehouse converted by Walter Murray and Thomas Kean in 1749, or if built as theaters, were as plain and unadorned as the spaces that they replaced. A contemporary witne ...
... the Revolutionary War, Philadelphia’s playhouses had either been adapted from existing, utilitarian buildings, like the waterfront warehouse converted by Walter Murray and Thomas Kean in 1749, or if built as theaters, were as plain and unadorned as the spaces that they replaced. A contemporary witne ...
270 METAPHORICAL MIRRORS AND SUBVERTING SELVES IN
... “passing” in their lives. The reason for this is the same – their gender and/or race is not good enough in their surroundings. “Passing” in African American lingo refers to someone’s desire or ability to successfully conceal their blackness to the extent that they “pass” for white. The outcomes of t ...
... “passing” in their lives. The reason for this is the same – their gender and/or race is not good enough in their surroundings. “Passing” in African American lingo refers to someone’s desire or ability to successfully conceal their blackness to the extent that they “pass” for white. The outcomes of t ...
(Ch)oral History: Documentary Theatre, the Communal Subject and
... considered suicide /when the rainbow is enuf and includes later plays like Diana Son's i?.^. W. ('Cause I'm a Woman), Madeline George's The Most Massive Woman Wins, Glenda Dickerson and Breena Clarke's Re/membering Aunt Jemima: A Menstrual Show, and much of the work of Spiderwoman Theatre. The commo ...
... considered suicide /when the rainbow is enuf and includes later plays like Diana Son's i?.^. W. ('Cause I'm a Woman), Madeline George's The Most Massive Woman Wins, Glenda Dickerson and Breena Clarke's Re/membering Aunt Jemima: A Menstrual Show, and much of the work of Spiderwoman Theatre. The commo ...
Origins + animations v20140108
... in all Elizabethan grammar schools, Latin was the primary language of learning. That Shakespeare acquired an impressive familiarity with the stories by Latin authors, as is evident from his plays and their sources. ...
... in all Elizabethan grammar schools, Latin was the primary language of learning. That Shakespeare acquired an impressive familiarity with the stories by Latin authors, as is evident from his plays and their sources. ...
Conference Booklet in PDF - Brno Theatralia Conference 2016
... among them, and besides, it is currently staged as an opera composed by Ambrois Thomas, who shifts Shakespeare’s original story towards new interpretations, i.e. he uses the basic theme transforming it in accordance with the traditional structure of libretto. This French opera of 1868 is presented i ...
... among them, and besides, it is currently staged as an opera composed by Ambrois Thomas, who shifts Shakespeare’s original story towards new interpretations, i.e. he uses the basic theme transforming it in accordance with the traditional structure of libretto. This French opera of 1868 is presented i ...
Courses in Playwriting
... This course exposes playwrights to the other disciplines within the medium for which they will be writing. Over the session, playwrights will be introduced to the five main production elements (set, lights, sound, costume, and props). They will also be trained in improvisation, movement, scene study ...
... This course exposes playwrights to the other disciplines within the medium for which they will be writing. Over the session, playwrights will be introduced to the five main production elements (set, lights, sound, costume, and props). They will also be trained in improvisation, movement, scene study ...
romanian performing arts journal
... There are significant reasons for the increasingly theatrical structure of human knowledge. There is a general move from static and substantive aspects of reality to structural, dynamic and interactive aspects. This trend underpins the appearance of conflicts and paradoxes. The failure of the tradit ...
... There are significant reasons for the increasingly theatrical structure of human knowledge. There is a general move from static and substantive aspects of reality to structural, dynamic and interactive aspects. This trend underpins the appearance of conflicts and paradoxes. The failure of the tradit ...
Cloud Nine - Atlantic Theater Company
... notions of “male” and “female.” By being confronted with this abstract idea, and recognizing the differences between social constructs and biology, the audience is charged with developing their own understanding of identity. Modern psychology tells us that gender and sex are different things entirel ...
... notions of “male” and “female.” By being confronted with this abstract idea, and recognizing the differences between social constructs and biology, the audience is charged with developing their own understanding of identity. Modern psychology tells us that gender and sex are different things entirel ...
Chinese boxes
... cannot always tell which ideas or solutions stem from whom – produced Melampe9, written 1723 by Ludvig Holberg, at Aarhus Theatre. The text belongs to the genre tragicomedy, well known from for example Le Cid and Don Juan. Melampe is an absurd story which takes place in Taranto in Southern Italy amo ...
... cannot always tell which ideas or solutions stem from whom – produced Melampe9, written 1723 by Ludvig Holberg, at Aarhus Theatre. The text belongs to the genre tragicomedy, well known from for example Le Cid and Don Juan. Melampe is an absurd story which takes place in Taranto in Southern Italy amo ...
Drama
Drama is the specific mode of narrative, typically fictional, represented in performance. The term comes from the Greek word δρᾶμα, drama, meaning action, which is derived from the verb δράω, draō, meaning to do or to act. The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BC) by Sophocles are among the masterpieces of the art of drama. A modern example is Long Day's Journey into Night (1956) by Eugene O’Neill.The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene, the Muse of comedy represented by the laughing face, and the Muse of tragedy represented by the weeping face, respectively. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.The use of ""drama"" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe ""drama"" as a genre within their respective media. ""Radio drama"" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example). In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.