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Theatro Nacional Tópicos & Notícia As Forças Armadas
m '•':: - ¦'¦¦¦''¦ Læs ¦ ¦ '"r.at :*''! Correio da Manliã 1 %ipciM ni mcSao «Mvai lt VAltlttOUt, Director - EDMUNDO BITTJblNCOTTRT -*,r-mt ta mvit gÁ-oa p. nnvx'» t. -i 5H______| ii.¦! 1 .t ,.ii«!_ii.giMSgr1 AMO Xn-N. 5.008 BIO DE JANEIRO — QUINTA-EBIRA, 17 DE OUTUBRO DE 1912 Redacçüo—Rus áo Ou vidor, 162j wammmtammm-temmmmt^m^Xa^^m^^^t-mmearmraeimammaammm-eaemamTimemamam!*^. ,r 1 bordejar. pelo littoral, em barcos automo- a * Foi destruído por um Incêndio, em MontevI* como examinadores de francez, nm profes- perficie territorial do Pará â Amazon veis, lendo Bpurget e armadas de seguros dio, o bazar La Mcnagére, sor de allemão e outro de physica e chimica I Land Colonisation Company, ton-ia- S.IBW.f50 CONTRA AS SECCAS % salva-vidas. Nem sociedade de e o THEATRO a que são No palácio do Cattete estiveram, hontem, pela Dado esse processo conhecido plaho se bem poistivo que as nossas coisas ornamentos, lhes affrontassem o manhi em vista ao da Republ ca, os AS FORÇAS permittiria presidente com grande antecedência architectado, não senadores Gabriel Salgado e Antônio Azeredo; militares, cada vez mais obrigam aos mar alto. admira dias antes da realização Escrevem-nos: Ora, as intriguitrhas de deputados Erasmo de Macedo, Balthazar Pereira, que, quinze cuidados da administração "S. positivamente, lítoreira clc Vasconcellos e Cunha Vasconcellos; das tod» rente soubesse qual o publica. do Maranhão, 27 de Petropolis os episódios elegantes de provas, já Li^z dc setembro five- major Vieira Pamplona, dr. Moura Brasil e capitão seria classificado em Faz-se necessário que, se surgirem 1912. -
En España Y La Influencia De La Comedia Dell'arte
El «oficio de representar» en España y la influencia de la comedia dell’arte (1567-1587) CARMEN SANZ AYAN y BERNARDO J. GARCtA GARCIA Al estudiar las compañías contemporáneas a la expansión del fenómeno teatral en España durante el último tercio del siglo xví1, es preciso reptan- tearse, una vez más, qué influjo llegaron a tener en este proceso las agrupa- ciones de commedia del/arte italianas y cuáles fueron sus genuinas aportacio- nes. Los defensores más firmes de que los modos italianos de hacer teatro, introducidos en la Península por las compañías delI’arte, ejercieron una in- fluencia decisiva sobre la escena española, parten de la consideración de que en la España de las décadas centrales del Quinientos todavía se hallaban tan poco desarrollados el oficio de representar y las artes escénicas que sólo un aire foráneo procedente de Italia pudo hacerlas emerger y preparar las con- diciones necesarias para su inmediata expansión. Como afirma Arróniz, a la llegada de las compañías italianas a España: «No hay teatros, no hay compa- ñías y los actores provienen de otros oficios» 2 No es nuestra intención analizar en este trabajo las influencias que ejer- cieron las fórmulas empleadas por la túommedia dell’arte en la composición de las obras teatrales españolas coetáneas, ni las aportaciones estéticas, es- cenográficas y técnicas que adoptaron las compañías españolas en repre- sentaciones. Centraremos nuestra atención en los aspectos relacionados con la organización de las compañías y su funcionamiento interno, valo- Este articulo se inscribe dentro de los trabajos que ambos venimos desarrollando para un proyecto de investigación financiado por la Comunidad de Madrid sobre las compa6ías de co- medias y los teatros madrileños entre los años 1575 y 1.615. -
February 20, 2015 Vol. 119 No. 8
VOL. 119 - NO. 8 BOSTON, MASSACHUSETTS, FEBRUARY 20, 2015 $.35 A COPY WATCHING WHILE THE WORLD BURNS A Winter Poem by Sal Giarratani It’s winter in Massachusetts Back when Jack Kennedy and the gentle breezes blow. was a young man, he penned At seventy miles an hour a great piece of non-fiction entitled, “While England and at thirty-five below. Sleeps” in which he warned Oh how I love Massachusetts the world that to sit back and when the snow’s up to your butt. watch evil like a helpless bystander led to World War II. You take a breath of winter While Hitler and the Nazis and your nose gets frozen shut. slaughtered millions of inno- Yes, the weather here is wonderful cent people, including six so I guess I’ll hang around. million Jews, the West sat on its hands, but eventually I could never leave Massachusetts evil has a way of growing if cuz I’m frozen to the ground. left alone. I see the very same thing — Author Unknown taking place as I write this commentary. Just over the Presidents’ Day holiday weekend, 21 Coptic Chris- when it comes to his objec- puts a target on Europe and tians were rounded up by tivity on Radical Islam who especially Rome, Italy. Our ISIS and all dressed in or- are trying to create a global president may not believe ange jumpsuits had their caliphate when Jewish pa- we are in a war, but we are heads severed on video for trons at a Paris deli are ex- thanks to the other side. -
Ing Theatre History in the Americas
Re-Stor(y)ing Theatre History in the Americas: Professional Players and the Callao Contract of 1599 Susan Beth Finque A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Scott Magelssen, Chair Jose Antonio Lucero Stefka Mihaylova Program Authorized to Offer Degree: School of Drama @Copyright 2017 Susan B. Finque University of Washington Abstract Re-stor(y)ing Theatre History in the Americas: Professional Players and the Callao Contract of 1599 Susan B. Finque Chair of the Supervising Committee: Associate Professor Scott Magelssen, Chair School of Drama In neglecting Peruvian theatre history, theatre studies has kept a branch of American theatre’s genealogical tree nearly invisible, despite the fruits of its growth thriving in plain sight. In investigating a contract drawn in Callao, Peru, 1599, I reveal a culture of secular, professional performance in sixteenth-century Lima. Inarguably creating the first professional company in the Western Hemisphere, the contract features male and female signatories, democratic structure, business sophistication, and a synchronicity with the evolution of the profession in Shakespeare’s London. Players were onstage in the Americas more than a hundred years earlier than current narratives dictate. The contract’s neglect, and English language scholars’ neglect of the Peruvian archives reveal pervasive biases in historiography. Asking how an abundance of archival evidence and the repertory of Peru persist without influencing theatre history in the Americas, I investigate genetic elements in the americanity of Peru, a term defining influences from indigenous, invasive and mestizaje cultures. I theorize with scholars Michel de Certeau, Carolyn Dean, Diana Taylor, Odai Johnson and Joseph Roach, among others, how slow-to-change narratives of theatre history in the Americas lack a hemispheric consciousness and are ruled by a series of persistent hegemonic assumptions. -
Obras. Tomo Primero
Manuel Tamayo y Baus Obras. Tomo Primero. 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Manuel Tamayo y Baus Obras. Tomo Primero. Prólogo Sr. D. Mariano Catalina. Mi querido amigo: Se empeña usted en que mi tosca y mal cortada pluma encabece con algo, a modo de prólogo, la edición de las obras dramáticas de Tamayo, publicadas bajo la inteligente dirección de usted y a expensas del oculto aunque constante Mecenas que, con tanta modestia como esplendidez, alterna con sus ricos donativos para las necesidades públicas de la Nación y con sus eficaces socorros a la miseria vergonzante, sus generosos auxilios a la memoria de los que, descuidando todo interés material, atendieron sólo a labrar la gloria de la Patria con el acertado cultivo de las letras, como Aparisi, Selgas y otros; y aunque en ésta, como en tantas otras ocasiones, olvidando lo inoportuno del mandato, haga la obediencia su oficio, no puedo menos de empezar a obedecer protestando contra el poco acierto de la disposición, aunque no sea más que para rehuir el cuerpo a las responsabilidades del caso. A la hora en que estamos, dadas las alturas supremas de la fama y del arte en que se cierne el nombre del gran Tamayo con aplauso común de críticos y espectadores, sólo al cincel escultural de un crítico de la talla de Menéndez y Pelayo correspondía esculpir el epitafio de este grandioso monumento en que, entre los despojos de la muerte, se consagra la inmortalidad del genio de nuestro teatro moderno; y si, dejando a un lado, por inútiles, juicios críticos -
Ciudadanos Imaginados: Historia Y Ficción En Las Narrativas Televisadas Durante El Bicentenario De La
Ciudadanos imaginados: historia y ficción en las narrativas televisadas durante el Bicentenario de la Independencia en Colombia, Chile y Argentina Mary Yaneth Oviedo Department of Languages, Literatures and Cultures McGill University, Montreal November 2017 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy © Mary Yaneth Oviedo 2017 2 Tabla de contenido RESUMEN…............................................................................................................................................... 4 ABSTRACT………. .................................................................................................................................... 6 SOMMAIRE........ ........................................................................................................................................ 8 Agradecimientos.. ...................................................................................................................................... 10 Introducción……. ..................................................................................................................................... 11 Televisión, historia y ficción .................................................................................................................. 15 Televisión y melodrama ......................................................................................................................... 17 Capítulo 1. La Pola: La historia nacional hecha telenovela ........................................................... -
Dc Comics: Wonder Woman: Wisdom Through the Ages Pdf, Epub, Ebook
DC COMICS: WONDER WOMAN: WISDOM THROUGH THE AGES PDF, EPUB, EBOOK Mike Avila | 192 pages | 29 Sep 2020 | Insight Editions | 9781683834779 | English | San Rafael, United States DC Comics: Wonder Woman: Wisdom Through the Ages PDF Book Instead, she receives the ability to transform into the catlike Cheetah, gaining superhuman strength and speed; the ritual partially backfires, and her human form becomes frail and weak. Diana of Themyscira Arrowverse Batwoman. Since her creation, Diana of Themyscira has made a name for herself as one of the most powerful superheroes in comic book existence. A must-have for Wonder Woman fans everywhere! Through close collaboration with Jason Fabok, we have created the ultimate Wonder Woman statue in her dynamic pose. The two share a degree of mutual respect, occasionally fighting together against a common enemy, though ultimately Barbara still harbors jealousy. Delivery: 23rdth Jan. Published 26 November Maria Mendoza Earth Just Imagine. Wonder Girl Earth She returned to her classic look with help from feminist icon Gloria Steinem, who put Wonder Woman — dressed in her iconic red, white, and blue ensemble — on the cover of the first full-length issue of Ms. Priscilla eventually retires from her Cheetah lifestyle and dies of an unspecified illness, with her niece Deborah briefly taking over the alter ego. In fact, it was great to see some of the powers realized in live-action when the Princess of Themyscira made her big screen debut in the Patty Jenkins directed, Wonder Woman. Submit Review. Although she was raised entirely by women on the island of Themyscira , she was sent as an ambassador to the Man's World, spreading their idealistic message of strength and love. -
The History of Europe — Told by Its Theatres
THE HISTORY OF EUROPE — TOLD BY ITS THEATRES Exhibition magazine CONTENT 4 Introductions We live in Europe, and it is therefore our task to make this part of the world work, in a peaceful way and for the best of all people liv - 6 Mediterranean experience ing here. To achieve this, we have to cooperate across borders, be - 10 religious impact cause only together we can solve the challenges we are facing together. For this, institutions are necessary that make cooperation 14 Changing society – possible on a permanent basis. For this, it is necessary to jointly changing building create an idea of how Europe shall develop now and in the future. 18 The Theatre royal, drury lane For this, it is necessary to remember where we come from – to remember our common history in Europe. 22 Max littmann For this, the touring exhibition The history of Europe – told by and the democratisation its theatres proposes a unique starting point: our theatres. And this of the auditorium is not a coincidence. Since the first ancient civilisations developed 24 Aesthetics and technology in Europe 2500 years ago, the history of Europe has also been the 28 The nation history of its theatre. For 2500 years, theatre performances have been reflecting our present, past and possible future. For the per - 34 Spirit of the nation set ablaze formances, this special form of a joint experience and of joint re - 38 To maintain the common flection, Europeans have developed special buildings that in turn identity – the Teatr Wielki mirror the development of society. And thus today we find theatre in Warsaw buildings from many eras everywhere in Europe. -
James Nemiroff-Final Dissertation
THE UNIVERSITY OF CHICAGO COMEDIAS JUDAIZANTES: PERFORMING JUDAISM IN LOPE DE VEGA’S TOLEDAN PLAYS (1590-1615) A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES BY JAMES MATTHEW NEMIROFF CHICAGO, ILLINOIS MARCH 2016 Table of Contents List of Figures iii Abstract iv Acknowledgments vi Introduction: The Jew as a Dramatic Problem In the Toledan Comedias of Lope de Vega 1 Chapter 1: Toledo as Foundational City: Genealogical Crypto-Narrations in El Postrer Godo de España and La comedia de Bamba 17 Chapter 2: Toledo as a City of Tragedy: Iconographic Crypto-Narrations in El Niño inocente de la Guardia and in El Hamete de Toledo 77 Chapter 3: Toledo as a City of Remembrance: Neo-Platonic Crypto-Narrations in Las paces de los reyes y judía de Toledo and La hermosa Ester 157 Conclusion: The comedia nueva as comedia judaizantte 225 Appendix: Figures 229 Bibliography 235 ii List of Figures Figure 1: Berruguete, Pedro (c.1450-1504) St. Dominic Presiding over the Burning of Heretics (oil on panel), / Prado, Madrid, Spain / The Bridgeman Art Library p. 230. Figure 2: El Greco (Domenikos Theotokopoulos), Greek (active in Spain), 1541–1614 Saint Dominic in Prayer, about 1605 Oil on canvas 104.7 x 82.9 cm (41 1/4 x 32 5/8 in.) Photograph © Museum of Fine Arts, Boston p. 231. Figure 3: (Unknown Architect) Puerta del Perdón, Toledo Cathedral. c. 1222-1223. Source: University of Chicago Art History Department Image Collection. -
Reading the Theatrical Nebentext in Ben Jonson's Workes As
From directions to descriptions: Reading the theatrical Nebentext in Ben Jonson’s Workes as an authorial outlet David J. Amelang Freie Universität Berlin, Germany ABSTRACT This article explores how certain dramatists in early modern England and in Spain, specifically Ben Jonson and Miguel de Cervantes (with much more emphasis on the former), pursued authority over texts by claiming as their own a new realm which had not been available—or, more accurately, as prominently available—to playwrights before: the stage directions in printed plays. The way both these playwrights and/or their publishers dealt with the transcription of stage directions provides perhaps the clearest example of a theatrical convention translated into the realm of readership. KEYWORDS: William Shakespeare; Ben Jonson; Lope de Vega; Miguel de Cervantes; stage directions. De indicaciones a descripciones: la De indicações a descrições: ler o Neben- lectura del Nebentext teatral en las text teatral em Workes de Ben Jonson Workes de Ben Jonson como expresión como expressão autoral* autorial RESUMEN: Este artículo analiza cómo RESUMO: Este artigo explora de que ciertos dramaturgos en las Inglaterra y forma certos dramaturgos em Inglaterra España del Renacimiento, especialmente e na Espanha do Renascimento, especi- Ben Jonson (y en menor medida tam- ficamente Ben Jonson e Miguel de Cer- bién Miguel de Cervantes), buscaron vantes (com maior ênfase no primeiro), establecer su posición autorial sobre sus procuraram estabelecer uma posição textos de una manera no disponible autoral sobre os seus textos ao reclama- hasta ese momento (o al menos no tan rem para si uma área que anteriormente claramente disponible) para escritores não estava disponível—ou, de forma de teatro: en las acotaciones escénicas de mais correta, não tão claramente dispo- las versiones impresas de sus obras. -
Subjectivity and Structures of Ideological Domination in Late Twentieth-Century Argentinean Cultural Production
The Uncanny Laughs Once Again: Subjectivity and Structures of Ideological Domination in Late Twentieth-Century Argentinean Cultural Production by María Ofelia Ros A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Philosophy (Romance Language and Literature, Spanish) in the University of Michigan 2010 Doctoral Committee: Assistant Professor Katharine Miller Jenckes, Chair Associate Professor Catherine Brown Associate Professor Cristina Moreiras-Menor Associate Professor Gareth Williams © María Ofelia Ros All rights reserved 2010 A mi abuelo por su política. A mi abuela por su economía. A mi madre por su psicoanálisis. A Ana, mi compañera entre tantos fuegos cruzados. ii AGRADECIMIENTOS En este cierre hay miles de cosas que no cierran, que no quieren cerrar, que no cesan de retornar, desafiantes, irresistibles, incomprensibles, burlándose de este punto final. En los párrafos siguientes quiero expresar mi agradecimiento a todos los que me acompañaron en estos seis años de escuela graduada; les agradezco con estas palabras que no hace más que bordear lo que significaron para mi. A la Universidad de Michigan, y en particular al Departamento de Romance Languages and Literatures que me brindó el tiempo y el espacio para llevar adelante este proyecto. Agradezco la concesión de las becas, la Rackham Humanities Research Fellowship y la One Term Dissertation Fellowship, que facilitaron el proceso de escritura; también el Rackham International Research Award y la International Institute Individual Fellowship que hicieron posible mi encuentro con la escena cultural de la poscrisis en el Cono Sur. A Kate Jenckes, mi directora de tesis, por la libertad para perderme, para confundirme, y por leer páginas y páginas de un discurso obstinado, encontrando algo que valía la pena rescatar, algo en lo que valía la pena detenerse y seguir pensando; por su inteligencia, su exigencia, su afecto y su apoyo en momentos donde nada parecía tener sentido. -
Gramatica Andres Bello
Gramática : gramática de la lengua castellana destinada al uso de los americanos Bello, Andrés http://cervantesvirtual.com/servlet/SirveObras/04694925499104944157857/index.htm Autor/a: Bello, Andrés (1781-1865). [ Biblioteca de autor ] Título: Gramática : gramática de la lengua castellana destinada al uso de los americanos. / Andrés Bello ; prólogo de Amado Alonso. Nota: Material cedido por la Casa de Bello. Nota: Edición digital a partir de Obras completas. Tomo Cuarto, 3ªed., Caracas, La Casa de Bello, 1995. Entradas secundarias: · Alonso, Amado , pr. · Cuervo, Rufino José , notas Portal: Venezuela Materias: · CDU o 81. Lingüística y lenguas. · Encabezamiento de materia o Español (Lengua) - Gramática Índice · Gramática Gramática de la lengua castellana destinada al uso de los americanos o Introducción a los estudios gramaticales de Andrés Bello Amado Alonso § Los móviles § Gramática «dedicada al uso de los americanos» § Idea de una gramática § La gramática y la lengua literaria § Otras defensas de las normas: la gramática histórica y la gramática general § La gramática general § La materia de la gramática § Análisis de los tiempos verbales § Las teorías gramaticales o Ediciones principales de la Gramática de Andrés Bello o Gramática de la lengua castellana § Advertencias § Prólogo § Nociones preliminares § Capítulo I Estructura material de las palabras § Capítulo II Clasificación de las palabras por sus varios oficios § Capítulo III División de las palabras en primitivas y derivadas , simples y compuestas § Capítulo IV Varias especies