campainha electrica: TWIN SHADOW, Teatro Mun. Vila do Conde, 26 de Maio de 2011 - 0 views
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senhor George Lewis Jr., envergando um chapéu tipo porteiro de hotel (ou à Spirou, como perpicazmente alguém notou)
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A voz nem sempre esteve no ponto e o mesmo se poderá dizer de alguns arranjos de guitarra, demasiado deslocadas em relação aos originais, a roçar, por vezes, um som a la Simple Minds dos (maus) velhos tempos.
Bem-vindo ao Teatro Nacional São João - 0 views
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peça que escrevera em 1924
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drama familiar inscrito no cenário oitocentista da Nova Inglaterra, marcado tanto pelo puritanismo religioso como pela desenfreada corrida ao ouro da Califórnia.
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Raízes que se entranham na tragédia grega – os temas do incesto, do infanticídio e do conflito que opõe pai e filho parecem extraídos das peças de Eurípides e Sófocles – e nas Sagradas Escrituras
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Figuras da Cultura Portuguesa - 0 views
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Daí que na sua ficção haja uma evidente desvalorização da história (a intriga), como se esta servisse apenas, no seu fragmentarismo e na sua desconexão discursiva ou na sua temporalidade descontínua, para ilustrar simbolicamente as pulsões que se confrontam no “teatro” interior do egocêntrico narrador.
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em todas as obras do autor é nuclear a oposição reiterada entre o eu social (a máscara) e o eu profundo (o sonho); a imposição do ser para consumo social (o domínio do parecer) e a vertigem do ser autêntico – uma latência obscura apenas revelável socialmente em momentos de crise.
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A este fascínio ambíguo pela rebelião ou pela centração no drama social dos pobres não seria, de resto, alheio a sua relação simpática com o anarquismo desde a última década do século XIX.
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Act now: can theatre help with climate change? | Stage | guardian.co.uk - 0 views
Max Rouquette - Medelha - 0 views
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cet homme se lasse de cette femme et de leur vagabondage sans fin. Il veut s'établir
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La pièce est construite sur cette opposition constante sédentarité-nomadisme
«Glória ou como Penélope morreu de tédio» de Cláudia Lucas Chéu, no Teatro Na... - 0 views
In Savage Quarters, a Reign of Sex, Violence and Alliteration - New York Times - 0 views
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What makes it stand out from the legions of other crime stories is its idiosyncratic language, a propulsive stream of muscular verbs and baroque slang spoken in the first person and present tense. It was almost as if Mr. O'Rowe had studied Samuel Beckett's chiseled prose and Martin McDonagh's outrageous violence and then tried to best them.
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his staccato poetry, which employs invented words and unusual syntax, has become increasingly sophisticated, abstract and all his own. He writes like someone who is laughing at his own audacity, testing his own alliterative limits ("submission is all he knows, the sissy/Surrender. Self-pity") and playing similar syllable sounds off each other ("kowtowing, cowardly"). If he uses a cliché, he'll make sure to give it a tweak ("days of salad"). Some lines are so rich that they can easily trip up actors.
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a writer who loves words almost as much as he does dirty jokes and bloody faces. Even bad sex sounds pleasingly musical.
Dennis Potter's brutal children | Television & radio | guardian.co.uk - 0 views
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It is set in the Forest Of Dean in 1943; a place of idyllic summer beauty, marvellously photographed and shot entirely on location, on film, with no studio scenes shot on video
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A bunch of children are romping around endlessly, aimlessly, with children's inexhaustible fund of energy and ingenuity - playing and fantasising about what their absent dads are doing in the war. They are nasty and bullying, ganging up on the weakest, with constantly shifting allegiances and protocols of sycophancy. They are, in their way, entirely innocent. But it is this which means that they are capable of horrifying acts of cruelty, which seem even more cruel in an age when we are obsessed with children as victims of adult predators.
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Blue Remembered Hills is of course a little like Golding's Lord Of The Flies, but without the "rescue" ending and without that novel's satirical premise that children would behave like this if the restraint of authority were removed: Potter removes the conditional tense; he says that they do behave like this every day, and that the distinction between childhood and adulthood - that supposed harness of morality and rationality - is far less clear than you think.
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"Une Flûte enchantée" de Peter Brook, légère et intense, aux Bouffes du Nord ... - 0 views
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Décor presque nu, vêtements sobres, chant épuré, la "Flûte enchantée" mise en scène à Paris par Peter Brook, à partir de l'opéra de Mozart, retient l'essence de l'oeuvre pour livrer au public un spectacle à la fois léger et intense
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"J'ai abandonné l'opéra (...) sur une haine absolue de cette forme figée - non seulement "la forme opéra" mais aussi "les institutions opéra", le "système opéra" qui bloque tout", raconte celui qui, à 85 ans, a décidé de tourner une page en confiant la direction des Bouffes du Nord à Olivier Mantei et Olivier Poubelle.
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La "Flûte" de Peter Brook, qui dure une heure quarante sans entracte, apparaît bel et bien "débarrassée de toutes les conventions imposées par la forme durant des années".
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Mozart's 'Magic Flute' Gets Skeletal Paris Staging: Review - Bloomberg - 0 views
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Peter Brook is bowing out with a whimper, not a bang. “A Magic Flute (After Wolfgang Amadeus Mozart),” his new and possibly last production at the Bouffes du Nord in Paris, will appeal only to unconditional fans.
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Although Brook, 85, has said that he’ll go on directing right up to his last breath, he’s on his way out. He recently handed over management of his theater to a younger team, Olivier Mantei and Olivier Poubelle, and its public subsidies have been slashed.
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Brook also had directed operas, yet felt frustrated with the genre’s conventions and vowed never again to get involved. In 1983, he broke his pledge and staged “La Tragedie de Carmen,” a condensed 83-minute version of Bizet’s masterpiece with a reduced orchestra and some tampering with the score. The result got mixed reviews. While the New York theater critics welcomed the production, music lovers had misgivings. I belong to the second category.
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Peter Brook: and for my next trick … | Stage | The Guardian - 0 views
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In his youth Peter Brook was famed for his pyrotechnic dazzle. "He cooks," wrote Kenneth Tynan in 1953, "with cream, blood and spices: bread-and-water addicts must look elsewhere." But, at 85, Brook is a very different director. Since 1974, when he took over the artistic directorship of the Bouffes du Nord in Paris, his work has been characterised by its clarity, lightness and distilled elegance
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His 90-minute production of Mozart's A Magic Flute, which comes to the Barbican next week, is quintessential late Brook. Out go the opera's pantomimic spectacle, big processions and trios of boys and ladies. Instead, we have a stage bare except for bamboo poles and minimal props and a young, nine-strong cast who deliver the work – sung in German with dialogue in French – crucially situated in front of Franck Krawczyk at the piano. As Brook wryly says: "If you come to this production looking for something that will slam you in the eyes, you've come to the wrong address."
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The librettist, Schikaneder, obviously wanted a big, fun popular show with plenty of scenic effects. But he and Mozart were both freemasons and, at a time when the movement was regarded by the Archduke as a potentially subversive political threat, sought to create an opera that is about spiritual trial and initiation. For Mozart, freemasonry represented his intuition that there was something finer and purer in life beyond the material and the everyday."
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A Magic Flute - review | Music | The Guardian - 0 views
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It's the third, and probably the last, in the line of operatic adaptations that Brook and his collaborator Marie-Hélène Estienne have produced for his company at the Théâtre des Bouffes du Nord in Paris, following their versions of Carmen and Pelléas et Mélisande.
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Like its predecessors, A Magic Flute drastically strips down the original: the whole work, played without a break, is over in 90 minutes, the youthful cast is reduced to seven singers and two actors, and the orchestra replaced by a piano part arranged and played by Franck Krawczyk. The set is a collection of vertical canes, constantly moved into new configurations, there are few props, and the costumes are a mix of western and vaguely oriental.
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The lack of real context for much of what happens is a distraction, and the rationale for what has been cut and what retained is puzzling.
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Schaubühne - Third Generation - 0 views
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