Onze adolescents conscients de la menace d'extinction des ours blancs, veulent profiter du voyage scientifique organise par Pierre Thimote, oncle de l'un d'entre eux pour se rapprocher du pole Nord. Sur les onze, seuls quatre d'entre eux devraient partir, ce qui n'est pas sans creer des problemes, d'autant que les garcons, qui se sont montres hostiles au projet dans un premier temps, changent d'avis et decident de se joindre au groupe.

Personen aus dem Roman "Das neue Manifest" ISBN 978-3-86991-398-8 und dem Roman "G.R.A.S." ermitteln gegen den Autor. Doch sie werden entdeckt. Gemeinsam beratschlagen sie, wie die Geschichte zuende gefuhrt werden konnte.

Marat-Sade es tal vez la pieza teatral mas apasionante y compleja del todo el Siglo XX. Su aparicion, a mediados de los anos 60s, escrita por el aleman Peter Weiss y llevada a escena por el ingles Peter Brook, revoluciono el Teatro mundial, haciendo uso de todos los criterios esteticos y conceptuales que hasta ese momento se habian desarrollado a lo largo de toda la historia del Teatro. 50 anos despues, el dramaturgo venezolano Ibrahim Guerra escribe una version libre en prosa de acuerdo a su vision hiperrealista del teatro, iniciada con su obra "A 2,50 la Cuba libre" con la que se inicia el Hiperrealismo teatral, convirtiendose en la pieza venezolana mas representada en el mundo, y su vision socio politica del mundo contemporaneo, especialmente, Latinoamericano. Marat-Sade, dada su importancia y trascendencia, es motivo de estudios en todos los centros academicos y de investigacion teatral en el mundo entero.

"Peking Opera and Politics in Taiwan tells the peculiar story of an art caught in a sea of overtly ideological ebbs and flows. Nancy Guy demonstrates the potential significance of the political environment for an art form's development, ranging from determining the smallest performative details (such as how a melody can or cannot be composed to whether a tradition ultimately thrives or withers away. When Chiang Kai-Shek's Nationalists retreated to Taiwan in 1949, they brought Peking opera performers with them to strengthen their authority through a symbolically important art. Valuing mainland Chinese culture above Taiwanese culture, the Nationalists generously supported Peking opera to the virtual exclusion of local performing traditions, despite their wider popularity. Later, as Taiwan turned toward democracy, the island's own "indigenous" products became more highly valued and Peking opera found itself on a tenuous footing. Finally, in 1995, all of its opera troupes and schools (formerly supported by the ministry of Defense) were dismantled. Nancy Guy investigates the mechanisms through which Peking Opera was perpetuated, controlled, and ultimately disempowered, and explores the artistic and political consequences of the state's involvement as its primary patron. Her study provides a unique perspective on the interplay between ideology and power within Taiwan's dynamic society.

Injustement condamne, Leon en cavale, cagoule et arme, fait irruption dans la bijouterie de Franck, son ex complice qu'il retient en otage. Dans un premier temps, il ne lui montre son visage, et au fil de la conversation, il decouvre que Franck le meprise, mais qu'il le voit aussi comme un homo, incapable d'etre pere . Leon, fait remarquer a Franck, que ceux qui ont plus de difficultes avec les gays refoulent leurs propres pulsions homosexuelles. Apres une nuit passee ensemble, Franck se retrouve seul dans la bijouterie, en calecon, menotte a un radiateur sur lequel, se trouve une boite de preservatif. Leon surgit, il est alle chercher des croissants et des fleurs et il l'appelle mon cheri.

Would you believe that you could ask a full-grown man to hold a penny for you and then tell him to drop it and finds he can t, hard as he may try? In what is undoubtedly the most original magic book of our time, John Fisher shows the reader how, with minimal practice, he can use the marvels of the human body to entertain and mystify friends and family, small and large audiences. This book is first of all a delight to read because of the instant education it provides us with about the unknown powers we have in our hands, our eyes, our noses, and our incredible nervous system. In each case, Mr. Fisher shows the easy-to-grasp principle first and then how to put the principle to work in actual tricks. Most magic books require a great deal of study and dexterity. This one enables you to entertain people even before you have finished the book. Moreover, you never have to worry about being prepared, because you always have with you all the miraculous things you need your hands, your eyes, and the rest of your body."

Jerzy Grotowski's Journeys to the East is an unusual collection of facts, quotations, and commentaries documenting the real and metaphorical journeys of the Polish theatre director and 'teacher of performers' into a geographical and cultural dimension which we used to and still call the Orient. Grotowski's contacts and meetings with the East are placed here in the context of his biography. Painstakingly researched by Grotowski's main biographer Zbigniew Osinski, this book is necessary reading for those interested in Grotowski's deep relationship with the East and in the inspiration he drew from its various cultures. The book will appeal to all readers who feel a need to have a glimpse of the East from the perspective of one of the main theatre reformers in the twentieth century.

Mot bo mon nghe thuat xuat phat tu trong nhan gian, voi buoc di khoi dau o Nam Ky Luc Tinh, goi la "ca-ra-bo," sau do ngay mot toa rong di khap 3 mien dat nuoc. Dong thoi ten goi cai luong cung duoc thien ha, nguoi doi mac nhien chap nhan luon cho den ngay hom nay. Cai luong khong dung lai o trong nuoc, ma da theo chan nguoi Viet di Mien di Lao phuc vu dong bao xa xu. Tiep do thi di Phap cung cac nuoc Au Chau, vat u nam 1975 thi cai luong hien dien o Hoa Ky. (trich loi noi dau)

Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff R. Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.

This book analyzes the role of the theatrical simpleton in the pasos of the sixteenth-century playwright Lupe de Rueda, in Mario Moreno's character "Cantinflas," and in the esquirol of the 1960s Actos of the Teatro Campesino. Spanning multiple regions and time periods, this book fills an important void in Spanish and theatrical studies.

Theatre in Pieces: politics, poetics and interdisciplinary collaboration is an innovative compilation of seven highly acclaimed productions by key practitioners of non-playwright-driven theatre. Each playtext is reproduced in full and accompanied by extensive notes from members of the original producing theatre. A substantial introduction by Anna Furse provides an overview of the works and contextualises their reading by revealing how a script can emerge from or provoke a collaborative devising process. The works featured include: Hotel Methuselah, Imitating the Dog/Pete Brooks; Don Juan.Who?/Don Juan.Kdo?, Athletes of the Heart; A Girl Skipping, Graeme Miller; Trans-Acts, Julia Bardsley; US, 1966 (with an introduction by Peter Brook); Miss America, Split Britches and 48 Minutes for Palestine, Mojisola Adebayo and Ashtar Theatre.

In So Much Wasted, Patrick Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison. Homing in on those who starve themselves for various reasons and the cultural and political contexts in which they do so, he examines the diagnostic history of anorexia nervosa, fasts staged by artists including Ana Mendieta and Marina Abramovic, and a hunger strike initiated by Turkish prisoners. Anderson explores what it means for the clinic, the gallery, and the prison when one performs a refusal to consume as a strategy of negation or resistance, and the ways that self-starvation, as a project of refusal aimed, however unconsciously, toward death, produces violence, suffering, disappearance, and loss differently from other practices. Drawing on the work of Martin Heidegger, Sigmund Freud, Giorgio Agamben, Peggy Phelan, and others, he considers how the subject of self-starvation is refigured in relation to larger institutional and ideological drives, including those of the state. The ontological significance of performance as disappearance constitutes what Anderson calls the "politics of morbidity," the embodied, interventional embrace of mortality and disappearance not as destructive, but rather as radically productive stagings of subject formations in which subjectivity and objecthood, presence and absence, and life and death are intertwined.

Anyone who wants to start a youth storytelling group or troupe will find a wealth of practical information and inspiration in this guide. Written by two veteran storytellers and storytelling group leaders, this book takes you step by step through the entire process of planning, starting, managing, and growing your storytelling group-even up through taking the show on the road. Complete instructions for teaching storytelling skills and performing are accompanied by dozens of reproducible activities and practical tips-from how to recruit members and how to adapt stories for telling to what to wear when performing, and fundraising ideas. Storytelling is a powerful teaching and learning tool. It increases literacy and language skills, builds creativity and imagination, instills confidence, encourages cooperation and collaboration-and it's great fun for everyone! Share the gift of storytelling with young people and watch them grow. Grades 4-12.

One of the first collections of articles on performance studies, this reader maps the field for those new to the discipline and shows the way in which a variety of events and rituals may be read as performance. The articles included help clarify what constitutes performance studies, as well as providing a valuable introduction to the many theoretical perspectives, including feminist, queer, post-structuralist, and post-colonial theories, which are used to read performance in culture. Acts considered range from those that can be easily identified as performance, such as the strip show, to those that are more theoretically complex, such as performative speech.

"So perspicuous was Battcock's choice of articles in "Minimal Art that his book has proved to be an exceptionally telling index of the critical discourse of its time. This is the key primary source book--for that matter it remains the key book--on the subject of Minimal Art, a movement that has lately, newly become a topic of consuming interest to many modern art historians, critics, curators and artists."--Anna C. Chave, author of "Mark Rothko: Subjects in Abstraction

"Good criticism of contemporary art movements is both rare and scattered, and readers with access to a wide range of periodicals and catalogue introductions are few. . . Minimal Art is so obviously the most important movement of the 1960s, and equally certainly will continue to be so in the early 1970s, that this anthology will be a valuable compilation of statements by artists and assessments by critics."--David Irwin, "Apollo

The World at Play: Performance from the Audience's Perspective interrogates what makes audiences and their experiences of the performing arts so unique and intense. Right through the following chapters, you will become aware of the conscious and unconscious phenomena that occur when groups of people gather to experience performance, how you can increase your own individual capacity to better analyze and respond to performance events, and then take a deep dive into the characteristics that set each form apart from the others in order to better understand your experience of them.

Want to learn valuable secrets about making your own low-budget films? This book is at once Tori and Matthew Butler-Hart's personal account of their ten-year adventure running their own film production company and a manual loaded with tips on how to survive-and thrive-in the modern independent movie business. Since founding Fizz and Ginger Films in 2009, Tori and Matthew have spent the past decade writing, producing, directing, line producing, and promoting both their own and other people's films. In Full to the Brim with Fizz, Ginger and Fierce Determination, the duo looks back and takes stock of what they've learned in their sometimes turbulent creative journey. Rather than a step-by-step guide of how-tos, Tori and Matthew offer real-life lessons in making independent feature films, including useful tips a pitfalls to avoid. From the very first stages of writing a screenplay to securing financing, producing and shooting the movie, post-production and distribution-each area is explored and explained through anecdotes and interviews with other professionals involved in the industry, including Sir Ian McKellen, Stephen Fry, and legendary producer Margaret Matheson. Full to the Brim with Fizz, Ginger and Fierce Determination is a must-read for any young actor, writer, director, producer, or all of the above, hoping to tell their own stories through the magical art of moving pictures.

Performing presence: Between the live and the simulated proposes that the advent of new media forms, and the increasing integration of contemporary performance and media, has generated new engagements, practices and understandings of presence. Addressing new media art and performance, multi-media theatre, video installation, mixed reality environments and locative arts, the book presents case studies of work by Lynn Hershman Leeson, Paul Sermon, Gary Hill, Tony Oursler, The Builders Association and Blast Theory, as well as analyses of a series of related experiments created for CAVE, an immersive virtual reality environment. Performing presence combines extensive analysis, and extracts from interviews with the artists, as well as the documentation of elements of work and working processes, in order to provide specific insight into these engagements with contemporary practices and concepts presence. -- .

"Performance" has multiple and often overlapping meanings that signify a wide variety of social behaviors. In this invitation to reflect on the power of performance, Diana Taylor explores many of its uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. This book performs its argument. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.

Drawing together all kinds of writing about and around Live Art, The Live Art Almanac is both a useful resource and a great read for artists, writers, students and others interested in the field of interdisciplinary, performance-based art. The Live Art Almanac Volume 4 is? a collection of 'found' writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy. Live Art is experiencing a huge ?surge in interest with major museums embracing this disparate area of practice, formerly cult artists becoming household names, and everyone from Shia LaBeouf, Lady Gaga and Jay Z trying to get in on the action. Reflecting the diversity of approaches and key developments from the last few years, Volume 4 is grouped into seven loosely themed sections: Locating Performance; Performance Under Attack; Speaking Up/Speaking Out; Show Me the Money; High Art in Low Places; Reviews; and Dearly Departed. This volume includes writings by,? and about: Ai Weiwei, Pussy Riot,?Tim Etchells, Karen Finley, Vaginal Davis, Ann Magnuson, Shaheen Merali, Jennifer Doyle, Marilyn Arsem, Guy Brett, Nigel Charnock, Claire Bishop, Bryony Kimmings, Matthew Barney, Coco Fusco, Stuart Hall, Miley Cyrus, Petr Pavlensky, Reverend Billy, Ron Athey, Mike Kelley, Oreet Ashery, CHRISTEENE, Marcia Farquhar, Morgan Quaintance, Adrian Howells, Amelia Abraham, Brian Boucher, Rose Finn-Kelcey, Mat Fraser, Jose Esteban Munoz, Kembra Pfahler, Hennessy Youngman, Joan Rivers, Mykki Blanco, Monica Ross, Wu Tsang, boychild, Wendy Houstoun, the vacuum cleaner and many more. The Live Art Almanac Volume 4 is published by Live Art Development Agency and Oberon Books.