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Fedra e o fiinta care fascineaza, dincolo de teatru sau literatura. Dincolo de originea ei si de lumile in care supravietuieste. Despre cate personaje se mai poate spune asta? Mai putin comentata decat Hamlet, mai putin celebra decat Oedip, Fedra imparte cu ei un statut privilegiat, pe care doar cateva alte figuri ale imaginarului uman l-au atins: isi creeaza propriul destin.

Invinge zeii si isi invinge conditia. Dar, mai mult decat atat, isi invinge autorul, autorii care au incercat, din antichitatea greaca si pana astazi, sa o supuna, sa o inteleaga, sa o citeasca si sa o rescrie. Fedra nu e doar un mit, in sensul in care mituri sunt toate chipurile din galeria lui Homer sau a tragicilor greci, ci un mit al ideii de personaj dramatic, al unui model de necuprins in paginile unei carti sau in matca unei scene.

Octavian Saiu este profesor, cercetator si critic de teatru. Are un doctorat in studii teatrale si unul in literatura comparata.

De-a lungul timpului, a participat la conferinte si festivaluri de teatru in Europa, Asia, America, Australia si Noua Zeelanda. A prezentat The last play by Britain's most controversial contemporary playwright, the late Sarah Kane. In Sarah Kane's first full-length play Blasted opened.

It became the cause celebre of the theatrical year, making front-page headlines and outraging critics with its depiction of rape, torture and violence in civil war. Fairy Flight. Raising butterflies from caterpillars, Sarah and Kinsey are certain there is magic in the air. Both ponder, "How can the Monarchs can migrate so many miles without directions? Love's Fortress. Gideon North wants a wife. She must be practical and hardworking. But above all, she must have a hearty constitution.

Horribly injured and scarred from his Peninsular War service, Gideon does not want to deal with a wife who flinches every time she looks at him. Gideon's estate manager Charles Borden was his sergeant in the war. Inseparable but almost always at odds, the two men agree that Sarah Whitley is the perfect wife for Gideon.

Strong, beautiful and intelligent with a dry sense of humor, Sarah bears her own marks from a life spent in the shadows. When Sarah learns to let go of her past fears, she frees both men to acknowledge the love and attraction that has always existed between them. The three become intimate but the eroticism of their encounters in the bedroom does not guarantee happiness. Gideon's defenses mire them in the past. Only together can Sarah and Charles break through to build a future with Gideon.

Theatre and Therapy. Walsh argues that there are many links between theatre and therapy when considering actor training, theatre in therapeutic contexts, and contemporary theatre and performance.

Since its rapid imperial expansion in the seventeenth century, Russia's politics, society, and culture have exerted a profound influence on movement throughout Eurasia. The circulation of people, information, and things across Russian space transformed populations, restructured collective and individual identities, and created enduring legacies. This volume represents the latest discoveries of scholars attempting to rediscover this experience, and to understand its lasting meaning for today.

These gathered essays tell a broad range of stories, involving a remarkable cross-section of historical actors: imperial visionaries, stage-coach entrepreneurs, religious pilgrims, tourists, disability activists and metropolitan police, among others. The book illuminates three major themes: the role of human mobility in Russian governance; the processes by which people decide where and how to move; and the political and cultural power of different kinds of movement.

A strong contribution to our understanding of the history of Russia and the Soviet Union, this volume offers new models of research for historians, sociologists, political scientists, and others who are seeking to integrate the study Set in an unnamed city from which voices and images spring, Crave charts the disintegration of a human mind under the pressures of love, loss and desire "A hugely unnerving theatrical experience, shot through with the language of the Bible and a genuinely poetic richness" Time Out "A dramatic poem in the late-Beckett style, sometimes a chamber quartet for lost voices" The Times Produced by Paines Plough and Bright Ltd Guy Chapman and Paul Spyker , Crave premiered at the Traverse Theatre for the Edinburgh Festival.

Complete Plays. When Blasted was first produced at the Royal Court in it was hailed jointly as a masterpiece and a 'disgusting piece of filth' Daily Mail. Subsequently that play, and the others that followed, have been produced all over the world.

This anthology includes Kane's never-before-published Channel 4 screenplay, Skin. Phaedra's Love. First single volume edition of this bold version of a classic by Sarah Kane Sarah Kane's radical reworking of Seneca's classical tragedy of incest and unrequited lust. Phaedra's Love is a bold and provocative revisioning of the story of Phaedra's obsessive and destructive love of her son Hippolytus and his violent punishment by Theseus.

Kane's achievement is to have humanised the antics of the pounding royals. Her sulphurous dialgoue is full of reeking toughness' Evening Standard 'Sarah Kane's writing is both daring and accomplished' Time Out 'Pure theatre or rather impure theatre: dirty, alarming, dangerous' Observer 'delivered with punch and laced with black humour' Financial Times.

Intelligent, partisan, enthusiastic and always illuminating, this is an insider's guide to the key shapers of theatre over the last decade, and essential reading for anyone interested in contemporary theatre.

This edition includes a new afterword. Psychophysical Acting is a direct and vital address to the demands of contemporary theatre on today's actor. Drawing on over thirty years of intercultural experience, Phillip Zarrilli aims to equip actors with practical and conceptual tools with which to approach their work. Areas of focus include: an historical overview of a psychophysical approach to acting from Stanislavski to the present acting as an 'energetics' of performance, applied to a wide range of playwrights: Samuel Beckett, Martin Crimp, Sarah Kane, Kaite O'Reilly and Ota Shogo a system of training though yoga and Asian martial arts that heightens sensory awareness, dynamic energy, and in which body and mind become one practical application of training principles to improvisation exercises.

Psychophysical Acting is a direct and vital address to the demands of contemporary theatre on today s actor. Areas of focus include: an historical overview of a psychophysical approach to acting from Stanislavski to the present acting as an energetics of performance, applied to a wide range of playwrights: Samuel Beckett, Martin Crimp, Sarah Kane, Kaite O Reilly and Ota Shogo a system of training though yoga and Asian martial arts that heightens sensory awareness, dynamic energy, and in which body and mind become one practical application of training principles to improvisation exercises.

Death, the One and the Art of Theatre. Death, The One and the Art of Theatre is the latest collection of Barkers distinctive and revelatory philosophical musings on theatre. It is a stunning array of speculations, deductions, prose poems and poetic apercus that casts a unique and unflinching light on the nature of tragedy, eroticism, love and theatre. Exploring the juncture between aesthetics and metaphysics, the book looks at the human experience of love and death as life at its most intrinsically theatrical.

Howard Barker is an internationally renowned playwright whose works are regularly produced throughout Europe and the US. He is widely known for his controversial explorations into contemporary tragedy and his anti-Brechtian focus on the irrational and the catastrophic.

He is often credited as a major influence on the generation of playwrights that includes Sarah Kane. Death, The One and the Art of the Theatre is a profoundly unsettling and inspiring piece of writing and extends the challenge to orthodox morality that Barker first presented in Arguments for a Theatre, a challenge he describes as men and womens secret longing for the incomprehensible nature of pain.

The essays in this volume discuss narrative strategies employed by international writers when dealing with rape and sexual violence, whether in fiction, poetry, memoir, or drama. In developing these new feminist readings of rape narratives, the contributors aim to incorporate arguments about trauma and resistance in order to establish new dimensions of healing.

This book makes a vital contribution to the fields of literary studies and feminism, since while other volumes have focused on retroactive portrayals of rape in literature, to date none has focused entirely on the subversive work that is being done to retheorize sexual violence.

Split into four sections, the volume considers sexual violence from a number of different angles. In 'Metaphors for Resistance, ' the essays explore how writers approach the subject of rape obliquely using metaphors to represent their suffering and pain.

The controversy of not speaking about sexual violence is the focus of 'The Protest of Silence, ' while 'The Question of the Visual' considers the problems of making Feminism, Literature and Rape Narratives. Lives in Play explores the centrality of life narratives to women's drama and performance from the s to the present moment. In the early days of second-wave feminism, the slogan was "The personal is the political. The book examines biography and autobiography together to link their narrative tactics and theatrical approaches and show the persistent and important uses of life writing strategies for theater artists committed to advancing women's rights and remaking women's representations.

Lives in Play argues that these writers and artists have not only responded to the vibrant conversations in feminist theory but also have anticipated and advanced these ideas, theorizing gender onstage for specific ends.

Print and the Poetics of Modern Drama. The question of the materiality of the book has surprising consequences when applied to dramatic writing. Worthen asks how the print form of drama bears on how we understand its dual identity--as play texts and in performance. Beginning with the most salient modern critique of printed drama, arising in the field of Shakespeare editing, Worthen then looks at the ways such playwrights and performance artists as Bernard Shaw, Gertrude Stein, Harold Pinter, Samuel Beckett, Anna Deavere Smith, and Sarah Kane stage the poetics of modern drama in the poetics of the page.

Carti sarah kane Stoc anticariat ce trebuie reconfirmat. Adauga in cos. Pret: Disponibil in 14 zile! Sarah Kane 4. Stoc anticariat ce trebuie reconfirmat. Ryan M. Contact Despre noi Cum cumpar?


Complete Plays

Phaedra's Love is a play by British playwright Sarah Kane. It was first performed in at London's Gate Theatre , directed by the author. The play is a modern adaptation of Seneca 's Phaedra. The play explores the brutal nature of love, social relations, nihilism and belief through the example of an affair between a queen and her stepson.


Sarah Kane - El Amor de Fedra



Emociones y antiemociones en la Fedra de Unamuno y en Phaedra's love de Sarah Kane



sarah kane El-Amor-de-Fedra(1).pdf


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