By Tracy Letts
El retrato de una familia disfuncional de l. a. América profunda en su peor momentoIngenio, acidez, ironía, tragedia y mucho humor negroTras los angeles desaparición del patriarca de los Weston una calurosa noche de de verano, el extended family se ve obligado a reunirse en l. a. casa conventional de Pawhuska, Ocklahoma, donde sentimientos reprimidos du rante años estallan en un torrente de emociones. Todos estarán bajo l. a. influencia de Violet, una mujer que cuando no está absolutamente drogada por las píldoras, suelta veneno por l. a. boca; se enfrentarán con su pasado y su presente, entre secretos y verdades a medias.Premio Pulitzer de Teatro 2008, l. a. adaptación cinematográfica de los angeles novela está protagonizada por Julia Roberts, Meryl Streep y Ewan McGregor.
Read Online or Download Agosto PDF
Best drama books
Born in Colombo, Judith Dunbar spends her teenage years at boarding college, whereas her loved mom and more youthful sister stay overseas together with her father. while her new good friend Loveday Carey-Lewis invitations Judith domestic for the weekend to Nancherrow, the Carey-Lewises' appealing property at the Cornish coast, it really is love initially sight.
Shakespeare's historical past performs were played lately greater than ever sooner than all through Britain, North the USA, and Europe. This quantity is an available advent to Shakespeare's historic and classical performs. complete in scope, it bargains chapters at the person performs and bills of the style of the historical past play, Renaissance theories of background, and masques and pageants.
Roman tragedies have been written for over 300 years, yet merely fragments stay of performs that predate the works of Seneca within the mid-first century C. E. , making it tricky to outline the function of tragedy in old Roman tradition. however, during this pioneering publication, Mario Erasmo attracts on the entire on hand proof to track the evolution of Roman tragedy from the earliest tragedians to the dramatist Seneca and to discover the function performed via Roman tradition in shaping the conception of theatricality off and on the degree.
In diesem Sonderheft werden die zahlreichen Facetten der Abhängigkeit aus psychodramatischer Sicht beleuchtet. Dabei wird der Fokus auf die Lebenssituation (psychodramatisch gesprochen: die Lage) von Personen gelegt, die auf bestimmte Substanzen oder Verhaltensweisen angewiesen sind. Der Weg, der sie in diese Lage gebracht hat, wird beschrieben und mögliche Ausstiegsszenarien aufgezeigt.
Additional info for Agosto
There are somefundamental objections to this pattern of development. I . Theatrical dance tends toward a rectangular pattern, not a circular one. “Where dancing is concerned, the most natural setting for it is a circular space,’’ wrote 0. A. W. Dike in 1948; given such a sweeping dictum, one envisions dancers swirlingaround a circular orchestra. A group of musicians sitting at an altar is usually added atthe hub of this circle, providing an inward focus for the dancers; this embellishment is somewhatsupported by the writings of Vitruviusand Pollux.
Carta. been unearthed, often mold-made for wide distribution. Almost all are the masked and padded figures of comedy; they clearly depict a grossly exaggerated comic stylethat must have been popular. Occasional Roman wall paintings may relate backto the fourth or fifth centuries. A well-knownRomanmosaicshows an agedplaywright or chorus master giving backstageinstructions to members of a satyr chorus (fig. 6 ) . These depictions, usuallythought to be copies of Greek originals, are of some use in re-creating theatricalconditions from several centuries before.
Schanzer argues that the entire company performed in a “Longs forfour” country-dance(466). 15. Most of these “improvements” were added to the plays in the centuryimmediately following their composition. They resulted from tinkerings by scribes and scholars and from actors seekingto fatten their roles. As copies were madefrom copies, there were also simple errors in transcription. See DenysL. Page, Actors’ Interpolations in Greek Tragedy. 16. See Oliver Taplin,The Stagecrafi ofdeschylus, 276-279.