German Dramaturgo

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Albert Einstein Physicist Jew-German SEVEN KEYS 65 Said Pilatos to them: There you tend an escort; IDE and you keep the tomb as you to seem well. 66 Going they, had mounted guard to the tomb there, stamping the rock and leaving the escort. Evangelho de JESUS according to Mateus, CAP. 27:65 and 66. Why they wanted in such a way to hide the Light of the CHRIST? Because JESUSES longed for to continue hiding of the People the Truth that it made to shine in all the sedentas Souls of freedom. ' ' The biggest necessity of a State is of governing corajosos' '. Johann Goethe Poeta and German Romancista The LIGHT OF the FIRST DAY the light of the first day, of that time of has two a thousand years more than, was not of the sun, therefore it not yet wakes up and the Light of the CHRIST already blinds the soldiers who kept the tomb.

1 In findar of Saturday, when entering the first day of the week, Madalena Maria and to another Maria had been to see the tomb. 2 and here it is that she had a great earthquake; because an Angel went down of the Sky, arrived itself, removed the rock and was based itself on it. 3 its aspect was as a lightning, and its vestment, white as the snow. The 4 and guards had trembled espavoridos and been as if they were died. Evangelho de JESUS according to Mateus, CAP. 28:1 the 4. ' ' The behavior is a mirror in which all show its imagem' '. Johann Goethe Escritor and German Dramaturgo The WOMEN AND 5 ANGEL But the Angel, directing itself it the women, said: You do not fear; because I know that you search JESUS, that was crucificado. 6 It not it is here; it revived, as it had said.

Arts and Drama

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The objective of this work is to differentiate, at least, three types of art that had been of utmost importance in these last centuries, that are, the representative art, characteristic art and dramatical art, under a perspective of the thinker Ernest Cassirer 2 REPRESENTATIVE ART In its Aesthetica, Alexander Baumgerton, tries to prove, through a logical idealizao of the imagination, that the art is independent, however, it was imperfection because the logic of the imagination never could reach the same dignity of the logic of the pure intellect. The philosophy of the art and the language, possess antagonistic trends that oscillate constantly, one are objective, the other is subjective. In the objective fact, the language and the art if I summarized and if it constructs through the imitation of the things. The imitation is an inexhaustible source of pleasures, and these pleasures, affirm Aristotle, are an experience more theoretician who specifically aesthetic. If an art if limits to the imitation, and the imitation never is a perfect copy of the object, then, who imitates modifies the object (or the nature), either for more good pu either for more worse, however, the mimtica art can not only assist the image of the nature as a whole, but also to improve it (or to get worse). For example, it has drawings of grape plantations, that are prettier of what many plantations of real grapes. In the representative art, the imitation is seen with something pleasant, therefore, no matter how hard that some object is difficult of being to see, he is delicious (or desprazeroso) to see such object represented for the art.

The Dramatical

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All, without exception, they had been looking at for the screen, petrified, therefore the image, registered for an anonymous citizen, through one of these devices of cellular telephone, was consternadora. One was about a man who, loading in the col the body of the wife, pranteava desesperadamente. The fact had occurred in the night of the sunday, in the one parking shopping. The couple is to the cinema and, in the exit, if it comes across with an intense shoot out between policemen and assailant. A projectile had reached the head of the woman. It was deceased, but the husband was not satisfied itself and wanted, by all means, to take it one ready aid. It cried and it cried out, begging so that somebody made some thing.

That they did not leave it to die; that it could not live without it; that it was waiting the desired son so; that it was the only love of the life of it; that they were married has only six months; that they had a thousand plans It cried out these things it hugged and it, spotting of color prpura its shady face and its white shirt, kissing the lvida forehead of the wife deceased. Finally, extenuado, sat down in a seedbed of azaleas, with the corpse in the col and was looking at for the high one, saying disconnected things, monologando with God, while a small multitude started if to agglomerate around the dramatical scene. *** By means of the sad a news article, had a collective silence in the bakery. When somebody opened the mouth, was only for pronouncing the phrase that was hammering in the head of the Nepomuceno until the moment where it took a person, to the times, needs to die to know that it is loved! had said. was the consternation provoked for the strong scene displayed in the telejornal I appeal and it emotional this almost whispered phrase, that had unchained in it that interior boiling.

Drama Follows

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Before the primary democrats of the 22 of April in Pensilvania adversaries of the Clinton they requested that gains Obama so that does not follow the drama. However, Hillary won by 10 points. While Obama protests that he is the precandidate who has secured more votes, States and delegates, she him retruca that if the annulled interns of Florida and Michigan were clear she would be ahead in voters. At this point she is impossible that Obama or Clinton obtains the 2.050 delegates necessary to be proclaimed. This will lead to that who they dissolve they are in favor heads and the democratic convention that will occur two months before the presidential ones of the 4 of November; and that Florida and Michigan want to impose their results or that they are called there to new elections. Obama, although it penetrates in sectors average and voting republicans, does not pierce in the traditional or working base of the democrats. The struggle intra-democrat benefits Bush who, in spite of being unpopular, can esperanzar itself in which with that crisis its party remains in the power. Original author and source of the article.

Brazil Movements

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This phrase said for one of the bastions guardies of this manifestation demonstrates the multiple and dynamic character of the capoeira, that if transmuta and if adapta, that it is rebelled and if accomodates, that creates and reproduces, that already served to defend itself and to even kill, and that today serves stops to educate, but that always it was an shout of freedom and reaffirmation of a culture and an oppressed people, reflected of the sad history of four centuries of slavery in Brazil (ABIB, 2004). In It hisses (2003), one extends Capoeira to it the dance, fights, trick and combat, mandingueira and objective, malandra and loafer: the Capoeira is the resistance of a people integrated to the mass, is culture, is race, is the phenomenon of the unfinished one. The author also considers, that the capoeira is game, corporal expression that … the same, fight and dances, touches and sings, attacks and defends; it is the body that goes and comes, of a side for the other, finding spaces in the small emptinesses of the circle for, irrationally, that is, without the rational use of the movements, to feel itself exempts of the real and social pressures of exclusion human being (IT HISSES, 2003 P. 55).

Capoeira is the dexterity fight, where two opponents play in wheel, and through corporal movements expression movements of attack and defense is in its majority with the legs or the hands and etc. in short, fight disfarada in dance is a game/. Dramaturgo Days Gomes said that in the capoeira the players, ' ' they are companionable. They do not fight, dissimulate to fight. They look for? brilliantly – to give the artistic vision of a combat. Above of a competition spirit, it has a direction of beleza' ' In this way one perceives that the estimated ones answered by the participants of the research if are similar with some conceptual aspects of the above-mentioned authors.

Almedia Fisher

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This project has as objective to analyze the story, the face, of the workmanship the man of two heads, of Almeida Fisher, that has as main personage a doctor and narrator, who express much love for its son, but that it is felt incompreendido by the commentaries of the people in relation its life. It is a history that tells the thought of this personage, a half thought that confused and that involves the reader through the mystery and that is only unmasked to the end of the reading. This project contains important comments regarding literature, which its importance, and what it influences in our lives through the importncias of the text in question, and that it will be able to serve as source of study for interest of other students. 1,1 JUSTIFICATION the story, the face, of Almeida Fisher, is a workmanship that has one weight tragic for if dealing with the envolvement of a child, is interesting and emotive, but at the same time dreadful, is what it calls more attention and it surprises the reader, becoming the intriguing workmanship. The narrative if initiates with the thought of the doctor, inquiring that it understands nobody it and that all are judging to it, tells of as if feels in the environment where is, it perceives the friagem of the brutais gratings separate that it of all, the people say that it is lying and he does not say ‘ ‘ thing with coisa’ ‘ , but it answers that it can believe its reality and not the one of the others.

Carlos Rasp

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This assay has as objective to study oprimeiro of these poems, considering in it two aspects: first, the hybrid suanatureza (Literature and Theater), specifically the case of the AUTO one; second, the relation that if establishes between this form or sort and the engajamentopoltico-social one of the poet. For the elaboration of this assay, one appealed to aosseguintes critics and historians: Alcides Villaa (2003), Alfredo Bosi (1994), Carlos Rasp (2001), Luiz Coast Rasp (1995), Georg Lukcs (1978), Jean-Paul Sartre (2004), Pricles Eugnio Da Silva Branches (2001) and MassaudMoiss (2003). Death and Severina life more popular workmanship of JooCabral are an Auto one of Christmas of the pernambucano folklore. Its line narrative seguedois movements that appear in the heading: ' ' Morte' ' ' ' vida' ' , noprimeiro movement has the passage of Severino personage protagonist, who seguedo hinterland for Recife in face of the economic and social oppression, Severino has afora collective of a typical personage, represents the retirante northeastern. Jno according to movement, of ' ' vida' ' , the author calls the attention for aconfiana in the man and its capacity to decide problems. The look is main the half one of a poet to catch realidadeque surrounds. This exactly to look at also catches the perpetual newness of the things. ParJoo Cabral de Melo Grandson poetical making is reached through the logic, doraciocnio, of the reason, eliminating itself superficial emotions, is one rupture totalcom the sentimentalismo, its poetry reflects the problems of the world and the serhumano.

The workmanship denotes objetividade in what it refers to raw and the cruelrealidade northeastern, developing itself in some cases in direction to queextrapola the Real, the surrealismo. In the thematic level, the writer discloses to great concern comsua people: the retirantes northeasterns. Severino is a sofredor man, eleinsiste, it leaves. Moreover, the Severino name is common between osnordestinos, reason that the author took to explore it as adjective mentioning itself vida of the northeastern, of the retirante (the death is severina, the life is severina), symbolizing the suffering while still alive and death of the severinos.

Cinematographic Alinguagem

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literature, script, theater, cantigas that ‘ ‘ Face-of-Bronze’ ‘ it can be read as transemitico and transgenrico text. For this analysis foramutilizados, over all, the concepts of transtextualidade, Gerard Genette; intersemitica detraduo, of Roman Jackobson; of transcriao, Haroldo deCampos. For the accomplishment of this comparative analysis between narrativa’ ‘ Face-of-Bronze’ ‘ a cinematographic script also was used, as base, the theory on scripts, of Doc Comparato, gift in books Script: etcnica art to write for cinema and television and Of> creation to the script. Nesseslivros, Comparato establishes differentiations between the literal sorts that seapresentam in the rosiano transemitico text, ' ' Face-of-Bronze' ': the narrative and oroteiro. In this study they had been also used, as base for the analysis, theories on the audiovisual sign, as Images of the Great Hinterland, ArlindoDaibert; The specular illusion: introduction to the photograph, of Arlindo Axe; Obvio and obtuso, of Roland Barthes. Finally, in what it says respect to ediode videos and films, of texts on techniques of filming and history docinema, of the television and the video, texts had been used as What it is cinema, of Jean-Claude Bernardet; Introduction to the cinema, of Jose Eustquio Romo; Cinematographic Alinguagem, of Marcel Martin; The process of creation in the cinema: research of audiovisuais language and structure, John Lawson; of the imaginary clssicoMquina and, Arlindo Axe.

Word-key: Pink Guimares; the duel, long-metragem colored. In this exactly year, Pablo Thiago also launches literary the Acriao video in Pink Guimares Joo who together with Of the hinterland aobeco of the Lapa, directed for> Maurice Capovilla in 1973, and the GuimaresRosa Joo, of 1968, will give to the bases for the videogrfico text of Fernando Sabino eDavid Snows, launched in 1975 for Well-you-Vi Films: the Veredasde set of documents Mines. Mining Cabaret, launched in 1980, was directed porCarlos. the P. Leather strap. Still in 1980, Helvcio Ratton directed a biography Pink deGuimares intitled Short Pink Joo, of approximately trezeminutos.

Pedro Calderon

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The Governor of Buenos Aires then is Dark brown Mauritius de Zabala that does not accept the orders and only when it has the news that Vicente Gives Whistles Gives Fonseca, Captain of the Colony, realises a precarious lusitano establishment in this bay, it is decided to undertake the march and foundation. It is born direct Montevideo consequence of the occupation and development of this small citadel and factory. In January of 1730, the first theater representation in the Eastern territory is realised, " The Arms Of the Hermosura" of Pedro Calderon de la Barca, in honor to the wedding of Inheriting prince Don Jose of Portugal and Infant of Castile Do6na Maria Ana Vittoria. In 1735 the lusitana city is surrounded by the Spanish forces. Was denominated it, the Site of Salcedo, by the Buenosairean Governor Miguel de Salcedo who decides to attack it blood and fire. Governor Antonio Pedro de Vasconcellos of heroic form resists, he maintains unconquered and he makes raise it to the site the 16 of September of 1737.

During this government the port of Colony – key point from entrance to South America reaches to lodge fifty ships of diverse flags, dedicated to illicitly introduce merchandises towards the Virreinato of Peru. After 27 years of excellent government, one of the impelling majors of its military, commercial and cultural life must retire ill. During all their management, several were the attempts, diplomats and the military, to make disappear the wonderful colony. Its phrase is well-known: " The Colony is of as much importance that would not change it by but advantageous equivalente". Already without Vasconcellos, the idea arises to exchange this city by something that it interests to Portugal. Company/signature in Madrid, in 1750, the Treaty of Exchange. The Colony of the Sacrament in exchange for the seven towns Eastern missionaries.

Athenian Tragedy

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It seems to be an illusion to think that all the tragedies are tragic, that is, that it has a critical one that it will be able to recognize them or not tragic, according to some criterion of ' ' tragicidade' '. To this form, we approach in them to a very complex question on the concept of tragic and if it would englobaria what he brings the tragedies, or the tragedy being a literary creation, would be subjects to the ability of its author. The literary critic/philosopher or even though the proper reader would be the last ones to diagnosis the tragic one in a tragedy. This approach of concepts between tragic tragedy and leaves in them to understand that in the tragedy it will have to contain the tragic one. For Most, it is not accidental that the tragic term is freed of its linking with a literary form and generalized to apply to the condition human being at the accurate moment of history, in the turn of century XIX, when the sort of the tragedy leaves of to be a dominant literary way. Currently, tragedies in the theaters are almost not staged, but, in our roads, them they are produced always.

Already the tragic word tries to define the state/invariant character of the man. In the literary critical philosophy and the old ones it seems not to have had nothing corresponding to the modern philosophical notion of ' ' trgico' ' as a basic dimension of the experience human being, but in its place only theories of ' ' tragdia' ' as a specific sort. Perhaps either therefore that the story of Aristotle on the historical evolution of the tragedy if refuses to mention the traditional inventor of the sort: Tspis, therefore, when trying suprimiz it, Aristotle makes the sort to seem Athenian occidental person and, more inevitable and human less.