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Добірка наукової літератури з теми "Teatro Persiano"

Автор: Grafiati

Опубліковано: 10 березня 2023

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Статті в журналах з теми "Teatro Persiano"

1

Zazmanzadeh, Nasim. "Persian myth and the Sufi mystic." Technoetic Arts 10, no. 1 (May 17, 2012): 47–51. http://dx.doi.org/10.1386/tear.10.1.47_1.

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2

Machado, Bernardo Fonseca. "Os usos do perfil – formas de ensino e práticas da diferença em escolas de teatro musical." Campos - Revista de Antropologia 21, no. 2 (December 31, 2020): 164. http://dx.doi.org/10.5380/cra.v21i2.74207.

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Анотація:

Este artigo descreve aulas de “audição” de duas escolas de teatro musical – uma em São Paulo e outra em Nova York. O texto pretende, de um lado, adensar a discussão sobre um ambiente pedagógico ainda pouco explorado pela literatura da antropologia da educação: as escolas de teatro. E, de outro, analisar as práticas de ensino adotadas. Para isso, persigo os usos da categoria “perfil” nas salas de aula e nas falas de docentes e de estudantes. Tal categoria, fundamental no vocabulário desses ambientes, confere acesso para discutir sistemas de classificação que hierarquizam corpos e atualizam normativas de gênero, sexualidade e raça no cotidiano pedagógico. Com base em pesquisa de campo e em entrevistas, procurei responder as seguintes perguntas: como se aprende o “perfil”? Como essa convenção produz diferenças e desigualdades nos corpos de estudantes?

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3

Villalobos, Carlos Manuel. "El tópico del persidio insular San Lucas y sus referencias en la literatura." Káñina 45, no. 1 (April 20, 2021): 141–55. http://dx.doi.org/10.15517/rk.v45i1.46677.

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Анотація:

El presidio San Lucas, ubicado en la isla del mismo nombre, fue fundado en el año 1873. Desde entonces, ha sido objeto de interés por diversos escritores costarricenses e incluso extranjeros. El primer relato que hace alusión a la isla se titula Un drama en el presidio de San Lucas, publicado por Manuel Argüello Mora en 1900. Sin embargo, el mayor referente literario corresponde a la novela La isla de los hombres solos (1963) de José León Sánchez. También aparece en otros relatos de este autor y en textos narrativos de escritores nacionales tales como Carlos Salazar y Adolfo Herrera. Gracias a la novela de León Sánchez, este locus horridus ha sido llevado al cine y al teatro, y ha motivado producciones literarias fuera de Costa Rica. En este artículo se propone una revisión de estas referencias y un análisis de los procedimientos discursivos.

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4

Ketterer, Robert C. "Under Cover in Babylon: Rossini's Cyrus the Great for the Lenten Season." Nineteenth-Century Music Review, September 6, 2022, 1–21. http://dx.doi.org/10.1017/s1479409822000295.

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Анотація:

Rossini's Ciro in Babilonia, ossia, La caduta di Baldassare (Cyrus in Babylon, or, The Fall of Belshazzar) was performed during Lent in 1812 at Ferrara's Teatro Comunale. This study examines how the opera's librettist Francesco Aventi synthesized disparate sources that included the Greek historian Herodotus and the Biblical prophets, ancient and early modern prose treatises on the Persian king Cyrus the Great, and baroque operatic representations of imperial power; and how Rossini responded to those sources musically for the particular historical moment in March of 1812. The piece is of interest as the first serious opera for the librettist and the composer both. It displays innovative approaches to classicizing material familiar from the eighteenth-century, as exemplified in Metastasio's Ciro riconosciuto and Sarti's Giulio Sabino, and it presents the secular hero Cyrus as a Christological figure that suffers and then triumphs with divine help. Musically it anticipates developments in Rossini's own Mosè in Egitto and Semiramide. The title “Under cover in Babylon” refers first to Aventi's and Rossini's use of the standard operatic plot device of the disguised lover to motivate Cyrus's entry into the enemy city of Babylon. Second, by calling the piece an “oratorio” and including Biblical material, they disguised an opera as an entertainment appropriate for Lent. Finally, the piece carries possible but subtly expressed messages connected with Napoleonic Italy and the Ferrarese Jewish community.

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Дисертації з теми "Teatro Persiano"

1

Lupieri, Stefania <1975&gt. "Otello nel paese delle meraviglie Gholam-Hoseyn Sa'edi, il teatro dell'assurdo e la critica sociale." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20787.

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Анотація:

Questa tesi si divide in due parti. La prima parte inizia con la biografia e le opere di Gholam-Hoseyn Sa'edi nato a Tabriz nel 1936 e morto in esilio a Parigi nel 1985. Autore prolifico, psichiatra e drammaturgo impegnato, fu una figura influente nell'affermare il teatro in Iran come forma d'arte, così come mezzo di espressione sociale e politica, fra gli anni Cinquanta e Ottanta del secolo scorso. Sa'edi fu tra i fondatori dell'Associazione scrittori dell'Iran, un gruppo di intellettuali creatosi al fine di opporsi ai tentativi del regime Pahlavi di avere il controllo sulla vita letteraria del paese. La seconda parte della tesi descrive come le opere di Shakespeare abbiano incontrato l'Iran. La tesi presenta una traduzione in italiano di Otelu dar sarzamin-e 'ajayeb, scritto da Sa'edi mentre era in esilio a Parigi. "Otello nel paese delle meraviglie" è una satira su quali discussioni sorgerebbero per la messa in scena dell'Otello shakespeariano sottoposto alla censura del governo della Repubblica Islamica d'Iran. La tesi presenta infine l'analisi formale e contenutistica del testo.

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2

Riyazi, Mirmohammad. "Le forme spettacolari della Persia nei perioi Safavidi e Qjar (1501-1930)." Doctoral thesis, 2020. http://hdl.handle.net/2158/1214793.

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Книги з теми "Teatro Persiano"

1

Pizzi Cannella: Teatro! Poggibonsi]: Carlo Cambi editore, 2020.

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2

1975-, Minervini Francesco Saverio, and Bettinelli Saverio 1718-1808, eds. Tiranni a teatro: Demetrio Poliorcete e Serse re di Persia. Bari: Palomar, 2002.

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3

Shakespeare, William. La tragédie d'Othello, le Maure de Venise. [Paris: L'Avant-Scène, 2001.

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4

Shakespeare, William. Othello, der Mohr von Venedig. [Vienna]: Burgtheater Wien, 1990.

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5

Shakespeare, William. Othello. New York: Penguin Group USA, Inc., 2008.

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6

Shakespeare, William. Otelo, el moro de Venecia. Algete (Madrid): Mestas Ediciones, 2001.

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7

Shakespeare, William. Othello. San Diego, CA: ICON Classics, 2005.

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8

Shakespeare, William. Othello: Shorter Shakespeare. New York: Macmillan, 1996.

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9

Shakespeare, William. Othello. [Don Mills, Ont.]: Harcourt Brace Jovanovich, 1987.

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10

Shakespeare, William. Othello, the Moor of Venice. Boston MA: Bedford / St. Martins, 2002.

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Більше джерел

Частини книг з теми "Teatro Persiano"

1

"A Harvest of Tears." In Aeschylus: Persians. Bristol Classical Press, 2006. http://dx.doi.org/10.5040/9781472539601.ch-006.

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2

Papadogiannakis, Ioannis. "Lamenting for the Fall of Jerusalem in the Seventh Century CE." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0011.

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Анотація:

The capture and sack of Jerusalem by the Persians in 614 CE was a momentous event in the eyes of the local Christian communities. The most extensive account of this event comes from Strategius’, Capture of Jerusalem which purports to be an eyewitness account. Read often almost exclusively for the historical information that it provides this work is an avowed, sustained, carefully composed lament for the fall of the city and the fate of its Christian community. Thus, the significance of this work lies not only in its degree of correspondence to historical facts but also in the intensity of mourning that Strategius seeks to induce in his readers. For he was involved in an economy of emotional expression that also helped to shape, maintain and manage an emotional community. Through an examination of this account the aim of this contribution is: a) to survey the sort of emotions that these events aroused in Christian communities and b) to show how Strategius, through an array of emotive techniques, invites the reader to join an emotional community of mourners and to feel empathy for the loss and affliction that befell his community in Jerusalem.

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3

Lane, Belden C. "The Risk-Taking Character of Wilderness Reading." In Backpacking with the Saints. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199927814.003.0008.

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Анотація:

Spiritual reading can be dangerous. I’m not talking about the devotional pabulum you find in most religious bookstores, but the truly risky stuff—from Hāfez and Eckhart to Toni Morrison and Oscar Romero. This is especially true of the spiritual “classics,” says theologian David Tracy. They confront us with the disturbing notion that “something else might be the case.” They haunt us with fundamental questions, overthrowing our previous ways of viewing the world. Reading a potentially dangerous book in a landscape perceived to be dangerous can be doubly hazardous. The place heightens the vulnerability occasioned by the text. Challenging books lose their bite when they’re read comfortably at home in a favorite armchair. Their riskiness increases, however, when read by firelight in a forest glade, ten miles from the nearest road. The place where you encounter a book indelibly affects the way you receive it. Claus Westermann read the Psalms in a Russian prison camp, discovering patterns that changed his life as well as his approach to biblical scholarship. Eldridge Cleaver read Thomas Merton in Folsom Prison. Aleksandr Solzhenitsyn read Dostoyevsky in a Soviet cancer ward. Karl Marx read the history of capitalism in the elegance of the British Museum. Potentially revolutionary changes occur when people read explosive texts in unsettling places. The stories of the saints are filled with instances of this. Isaac of Nineveh’s world was turned upside down as he read the Scriptures in the desert solitude of the Zagros Mountains in sixth-century Persia. He allegedly made himself blind through his constant pondering of the tear-stained pages. Near the end of his life, Francis of Assisi read the story of Christ’s passion not simply from the pages of the Gospels, but from the huge, split rocks atop Mt. La Verna. He said these cracks had appeared on Good Friday when the stones on Calvary were also rent. He experienced their truth in the opening of wounds in his body through the gift of the stigmata. The mountainous terrain and his body’s interaction with it became active participants in his reading of the text.

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