A encenação e as idades do actor

info:eu-repo/semantics/publishedVersio

Por um actor europeu…

Ensaio reflexivo sobre a identidade do actor "europeu"

A encenação e as idades do actor

Artigo sobre as várias configurações da idade na criação teatral

A “língua baixa”, um “efeito de real”?

Considerações de George Banu sobre a polémica da lingaugem no teatro e o efeito do rea

Un archipel des solitudes – perspective à vol d’oiseau –

This paper traces a map and a brief history of the presence of Romanian theatre outside the borders of Romania. It is shown here that Romanian theatre artists (actors, stage directors, stage designers) left Romania for many different reasons: a need for affirmation and of international celebrity, political and cultural persecutions etc. The emphasis is put here on the communist period, when the censorship imposed by political power determined many people to exile themselves: Silviu Purcărete, Lucian Pintilie, Andrei Şerban, Liviu Ciulei, as well as the author of this text and many others. What one can see is thatRomanian theatre artists worked individually, without building complex networks, even if they sometimes collaborated: that’s the archipelago of loneliness the title mentions. That doesn’t mean they hadn’t any influence on the theatrical life in the countries where they lived: they had a great impact, mainly through the theatre schools they founded.This paper traces a map and a brief history of the presence of Romanian theatre outside the borders of Romania. It is shown here that Romanian theatre artists (actors, stage directors, stage designers) left Romania for many different reasons: a need for affirmation and of international celebrity, political and cultural persecutions etc. The emphasis is put here on the communist period, when the censorship imposed by political power determined many people to exile themselves: Silviu Purcărete, Lucian Pintilie, Andrei Şerban, Liviu Ciulei, as well as the author of this text and many others. What one can see is thatRomanian theatre artists worked individually, without building complex networks, even if they sometimes collaborated: that’s the archipelago of loneliness the title mentions. That doesn’t mean they hadn’t any influence on the theatrical life in the countries where they lived: they had a great impact, mainly through the theatre schools they founded

Αντιφώνηση

Η αντιφώνηση του Georges Banu κατά την επιτιμοποίησή του από το Τμήμα Θεάτρου του ΑΠΘ, τον Μάιο του 2016

Peter Brook

Peter Brook Why a Theatre Laboratory? It  includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium. The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations