Download Juegos para actores y no actores by Augusto Boal PDF

By Augusto Boal

«Boal ha conseguido lo que Brecht soñó: crear un teatro útil que resulte entretenido, divertido e instructivo. Es una clase diferente de teatro, una especie de terapia social -centra l. a. mente, relaja el espíritu y proporciona a las personas una nueva perspectiva para su propia situación.»

Richard Schechner

«Esta es una útil guía para profundizar en el Teatro del Oprimido de Boal. Hay que dar l. a. bienvenida a su publicación, el trabajo de Boal merece y exige ser imitado.» Theatre study International

Juegos para actores y no actores se inscribe en el movimiento teatral creado por Augusto Boal conocido como Teatro del Oprimido. Una corriente nacida en l. a. década de los cincuenta en Brasil, en el seno de una renovación cultural generalizada que se desarrolla en torno a un principio esencial: l. a. práctica del arte escénico como una actividad dedicada a l. a. mejora efectiva de l. a. vida de los grupos sociales menos favorecidos. Se trata ante todo de facilitar el reconocimiento de l. a. naturaleza de las opresiones, para poderlas combatir.

El Teatro del Oprimi-do, corolario de l. a. filosofía del reencuentro entre teatro y sociedad que Augusto Boal ha gestado, requiere para su práctica de un conjunto de ejercicios, más de cuatrocientos, recogidos en Juegos para actores y no actores y dirigidos tanto a actores profesionales como a aficionados. Más allá de sus orígenes teatrales, Juegos para actores y no actores se ha impuesto en todo el mundo como un texto basic en diversas actividades humanísticas: psicología, psicoterapia, arte, educación, trabajo social y trabajo político.

Show description

Read or Download Juegos para actores y no actores PDF

Similar performing arts books

Young People, New Theatre: A Practical Guide to an Intercultural Process

Kids, New Theatre is a ‘how-to’ booklet; exploring and explaining the method of participating creatively with teams of teenagers throughout cultural divides.

Organized into routines, case reports and particular subject matters, this e-book plots a course for these wishing to place this type of theatre into coaching. Born out of the highly profitable ‘Contacting the World’ pageant, it's the first useful instruction manual during this box.

Topics include:
* debating the shared global
* what's collaboration?
* other ways of operating
* adapting to express age teams and talents
* post-project evaluations.

Bill Hicks: Agent of Evolution

Put up 12 months observe: released 2005 through HarperCollins leisure

Written by way of invoice Hick's lifelong pal, manufacturer, and co-creator, Kevin sales space deals the interior tale into the guy who was once in basic terms alongside for the journey for a tragically short while, but left an indelible mark on comedy fans and freethinkers far and wide.

Bill Hicks: Agent of Evolution bargains a unprecedented fly-on-the-wall perception into the lifetime of one in all Britain's so much enjoyed US comedians. cherished within the united kingdom for his special kind of savage, hilarious comedy, the single one who knew him in and out tells of a guy whose existence used to be simply as impassioned and off-the-wall as his comedy. Even again at highschool, in Houston, Texas, Kevin used to be Bill's co-conspirator, as they sneaked out of Bill's strict Baptist domestic at evening, and headed for the Comedy Workshop, the place on the age of fourteen, invoice used to be happening a typhoon. They nearly shared each adventure ? from magic mushrooms to ladies, however it used to be their song and their imaginative and prescient of comedy, which sure them so heavily jointly.

Kevin produced, engineered and played on lots of Bill's recordings, and it's principally because of him, that quite a bit of Bill's comedy is instantly on hand on CD and video. Michael Bertin, a highly gifted writer from Austin, Texas, is co-writing Kevin's fly-on-the-wall biography of invoice Hicks.

At the End of the Street in the Shadow: Orson Welles and the City

The flicks of Orson Welles inhabit the areas of cities—from America's industrializing midlandto its noirish borderlands, from Europe's medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His video clips take us via darkish streets to confront nightmarish struggles for strength, the carnivalesque and peculiar, and the shadows and light-weight of human personality.

Carmen (Opera Journeys Libretto Series)

Whole LIBRETTO of Bizet's CARMEN, that includes a brand new TRANSLATION, and track spotlight examples.

Extra info for Juegos para actores y no actores

Example text

W h y b o t h e r to i m p r o v e musical technique if the aim of perf o r m a n c e is to share a social e x p e r i e n c e ? T h e functions o f music i n society m a y b e the decisive f a c tors p r o m o t i n g or inhibiting latent musical ability, as well as affecting the choice of cultural concepts and materials with which t o c o m p o s e music. W e shall n o t b e able t o explain the principles of c o m p o s i t i o n and the effects of m u s i c until we understand b e t t e r the relationship b e t w e e n musical and h u m a n e x p e r i e n c e .

B u t I am sure that there is ultim a t e l y o n l y o n e e x p l a n a t i o n and t h a t this could b e discov- 18 H O W MUSICAL IS MAN? Musical phrase used in flute music from Butembo 2. sage, using "languages," FIGURE Two possible interpretations of the same musical pasa tension/relaxation model and harmonic and physical respectively. ered by a c o n t e x t - s e n s i t i v e analysis of t h e music in culture. W h e n I analyzed the flute melodies in 1 9 5 5 , I w a s w o r k i n g with a n n o t a t e d recordings and a specimen i n s t r u m e n t which I learned to play.

A n d y e t the simplicity o r c o m p l e x i t y of the m u s i c is ultimately irrelevant: t h e equation 34 HOW MUSICAL should not be LESS = DIFFERENT. LESS = IS BETTER or MORE MAN? = BETTER, b u t MORE or It is the human c o n t e n t o f the h u m a n l y o r - ganized sound t h a t " s e n d s " people. Even if this emerges as an exquisite turn of melody or h a r m o n y , as a " s o n i c o b j e c t " if you like, it still began as the t h o u g h t of a sensitive h u m a n b e i n g , and it is this sensitivity that m a y arouse (or n o t ) the feelings o f a n o t h e r h u m a n being, i n m u c h the s a m e w a y that m a g n e t i c impulses c o n v e y a telephone conversation from one speaker to a n o t h e r .

Download PDF sample

Rated 4.06 of 5 – based on 13 votes