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Hierofania
Fruto de dez anos de pesquisa, Hierofania documenta e discute o método criado por Antunes, as referências estéticas, os meios desenvolvidos, os exercícios, a bibliografia, a prática e a ideologia, bem como reflete sobre os espetáculos resultantes deste trabalho. A primeira parte foca na fundação do Grupo Macunaíma e do CPT, no que se refere às técnicas e meios expressivos para o ator. A segunda parte traz o método sistematizado e a descrição de seus exercícios, fundamentada na ideologia de que é preciso formar e transformar o ser humano para que se forme o ator. Vencedor do prêmio de melhor publicação dedicada ao universo do teatro, da Cooperativa Paulista de Teatro, em 2010.
The Cambridge History of Latin American Literature
The Cambridge History of Latin American Literature is by far the most comprehensive work of its kind ever written. Its three volumes cover the whole sweep of Latin American literature (including Brazilian) from pre-Colombian times to the present, and contain chapters on Latin American writing in the USA. Volume 3 is devoted partly to the history of Brazilian literature, from the earliest writing through the colonial period and the Portuguese-language traditions of the nineteenth and twentieth centuries; and partly also to an extensive bibliographical section in which annotated reading lists relating to the chapters in all three volumes of The Cambridge History of Latin American Literature are presented. These bibliographies are a unique feature of the History, further enhancing its immense value as a reference work.
The Modern Brazilian Stage
Reading a play and watching it performed onstage are quite different experiences. Likewise, studying a country's theatrical tradition with reference only to playtexts overlooks the vital impact of a play's performance on the audience and on the whole artistic community. In this performance-centered approach to Brazilian theatre since the 1940s, David George explores a total theatrical language—the plays, the companies that produced them, and the performances that set a standard for all future stagings. George structures the discussion around several important companies. He begins with Os Comediantes, whose revolutionary 1943 staging of Nelson Rodrigues' Vestido de Noiva (Bridal Gown) broke...
Brazilian Collaborative Theater
Brazil has one of the most vibrant theater cultures in the world, home to a wide variety of theatrical expression. This collection of 15 interviews includes some of the country's most prolific creative minds--Ze Celso (Teatro Oficina), Antunes Filho, Gerald Thomas, Nos do Morro, Rudolfo Vasquez (Os Satyros), Antonio Araujo (Teatro Vertigem), Enrique Diaz (Cia do Atores) and Lia Rodrigues, to name a few--discussing their approaches to the collaborative theater process. They describe a collective creative environment in which practitioners are concerned with fundamental questions about social, cultural and artistic contexts in which productions are staged, and the interdisciplinary climate that predominated from the beginning of the 1980s.
A Boal Companion
This Boal companion explores performative and cultural ideas and practices which inform Boal's work by putting them alongside those from related disciplines.
Continuum Companion to Twentieth Century Theatre
International in scope, this book is designed to be the pre-eminent reference work on the English-speaking theatre in the twentieth century. Arranged alphabetically, it consists of some 2500 entries written by 280 contributors from 20 countries which include not only top-level experts, but, uniquely, leading professionals from the world of theatre. A fascinating resource for anyone interested in theatre, it includes: - Overviews of major concepts, topics and issues; - Surveys of theatre institutions, countries, and genres; - Biographical entries on key performers, playwrights, directors, designers, choreographers and composers; - Articles by leading professionals on crafts, skills and disciplines including acting, design, directing, lighting, sound and voice.
Too Much of Life: The Complete Crônicas
In the magnificent feast of Clarice Lispector’s books, her crônicas—short, intensely vivid newspaper pieces—are the delicious canapés The things I’ve learned from taxi drivers would be enough to fill a book. They know a lot: they really do get around. I may know a lot about Antonioni that they don’t know. Or maybe they do even when they don’t. There are various ways of knowing by not-knowing. I know: it happens to me too. The crônica, a literary genre peculiar to Brazilian newspapers, allows writers (or even soccer stars) to address a wide readership on any theme they like. Chatty, mystical, intimate, flirtatious, and revelatory, Clarice Lispector’s pieces for the Saturday edition of Rio’s leading paper, the Jornal do Brasil, from 1967 to 1973, take the forms of memories, essays, aphorisms, and serialized stories. Endlessly delightful, her insights make one sit up and think, whether about children or social ills or pets or society women or the business of writing or love. This new, large, and beautifully translated volume, Too Much of Life: The Complete Crônicas presents a new aspect of the great writer—at once off the cuff and spot on.
Antônio Abujamra
Antônio Abujamra: Rigor e caos trata-se de uma celebração da vida e da carreira de Antônio Abujamra. Marcia Abujamra é a organizadora do volume, que traz um compilado de textos, depoimentos e inúmeras fotos que dão conta da trajetória artística de ABU. Antonio Fagundes, Zé Celso e Vera Holtz estão entre os que prestaram depoimentos sobre o artista para o livro, e estudiosos como André Dias, Paula Sandroni e Tania Brandão colaboraram com textos em profundidade sobre diferentes momentos de sua carreira.
Brazilian Theater, 1970-2010
How did Brazilian theater survive under the military dictatorship of 1964-1985? How did it change once the regime was over? This collection of new essays is the first to cover Brazilian theater during this period. Brazilian scholars and artists discuss the history of a theater community that not only resisted the regime but reinvented itself and continued to develop more sophisticated forms of expression even in the face of competition from television and other media. The contributors recount the struggle to stage meaningful plays at a time when some artists and intellectuals were exiled, others imprisoned, tortured or killed. With the return of democracy other important issues arose: how to ensure space for different practices and for regional theater, and how to continue producing international plays that could be meaningful for a Brazilian audience.
