En la primera escena de El campamento se muestra el conflicto de la obra: Manolo ?pasa? de la monitora del campamento y de sus compañeros y compañeras, teniendo un comportamiento antisocial. La escena segunda representa una época, de ambiente medieval, en el que se da la moraleja que debe sacar Manolo para cambiar su forma de actuar en la vida. Finalmente, la escena tercera nos muestra a un Manolo cambiado y en la que se explica lo que ha motivado este cambio personal. En Fiesta de pijamas no sabemos que estamos ante un concurso de televisión que consiste en hacer una representación teatral hasta el final de la obra. El concurso se titula: ?Miente mientras puedas?. Varias chicas nos irán contando sus problemas personales, sus vivencias? ¿Quién será la mentirosa en esta ocasión?
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Un vaixell de pirates moriscos tots ells expulsats de València lany 1609- aborda i captura un vaixell català. Entre els passatgers del vaixell català hi ha una noia jove, Blanca, de família aristocràtica, i el seu pare, DON CARLES, militar i funcionari de la Inquisició. La intenció dels pirates, capitanejats per Saïd, és obtenir un bon rescat pels homes presoners i vendre les dones al mercat desclaus dAlger, pràctica habitual i documentada de lèpoca. Durant la travessia cap a Alger, les relacions dodi entre les dues comunitats van esdevenint cada cop més dures i més tenses, però entre BLANCA i SAÏD neix un corrent mutu de simpatia que no trigarà gaire a esdevenir un amor apassionat. Això fa que els pirates se sentin traïts pel seu capità i amenacin amb un motí, que gairebé arriba a dur-se a terme; per part dels cristians, representa la condemnació absoluta de Blanca per la seva traïció religiosa, social i racial. Gràcies a la traïció de JOANOT, un dels pirates que és subornat pels cristians, aquests recuperen el control del vaixell i aconsegueixen de vèncer i eliminar els pirates, però al moment que van a executar SAÏD, es troben que BLANCA es disposa a defensar-lo amb la seva pròpia vida i senfronta amb la resta de cristians i amb el seu propi pare. Finalment, després de tota una colla daventures, BLANCA i FERRAN proporcionen a SAÏD una petita xalupa perquè sescapi, però són descoberts per DON CARLES al darrer instant que dispara sobre SAÏD causant-li la mort. BLANCA en veure-ho decideix suïcidar-se. Lespectacle es clou amb una reflexió sobre les conseqüències dels odis racials i nacionals, amb totes les implicacions dramàtiques que això comporta. (LEspectacle MAR I CEL va ser estrenat per la Companyia DAGOLL DAGOM lonze doctubre de 1988 al Teatre Victòria de Barcelona)
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The story of an Indian family separated by a painful event that eventually finds their way back together. In 2045, Naina Ranjeeva writes a letter to recount the journey that led to the adoption of her son Nikhil. Decades earlier, she stumbles upon a lead on the location of her aunt, who had disappeared when Naina was just a child. After her aunt's disappearance, Naina's family also completely lost contact with her beloved younger cousin, Nitu. With her aunt's location in hand, Naina takes the first step toward locating her cousin by traveling to the Republic of East Africa to search for her aunt. Her journey eventually leads her to Calcutta where she finds her cousin Nitu and his three-year-old son Nikhil. After two decades apart, the family starts to bridge the gap caused by years of separation, within the backdrop of political turmoil and revolution in East Africa.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Desde la Antigüedad la literatura y las artes plásticas siempre estuvieron relacionadas y a partir de las observaciones de Aristóteles fue posible establecer una serie de preceptos que serían muy útiles para la creación artística. En el marco de estas observaciones el presente volumen reúne una serie de estudios que ponen en relación el arte dramático con el pictórico en el Siglo de Oro, estudios que tratan desde los paralelismos que en esta época se establecieron entre el oficio del pintor y del poeta, a la influencia directa que ejerció la pintura de Ribera y Rubens en la obra dramática de Calderón, pasando por la écfrasis, uno de los recursos más explotado por los poetas dramáticos de la época .
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
En la primera escena de El campamento se muestra el conflicto de la obra: Manolo ?pasa? de la monitora del campamento y de sus compañeros y compañeras, teniendo un comportamiento antisocial. La escena segunda representa una época, de ambiente medieval, en el que se da la moraleja que debe sacar Manolo para cambiar su forma de actuar en la vida. Finalmente, la escena tercera nos muestra a un Manolo cambiado y en la que se explica lo que ha motivado este cambio personal. En Fiesta de pijamas no sabemos que estamos ante un concurso de televisión que consiste en hacer una representación teatral hasta el final de la obra. El concurso se titula: ?Miente mientras puedas?. Varias chicas nos irán contando sus problemas personales, sus vivencias? ¿Quién será la mentirosa en esta ocasión?
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Un vaixell de pirates moriscos tots ells expulsats de València lany 1609- aborda i captura un vaixell català. Entre els passatgers del vaixell català hi ha una noia jove, Blanca, de família aristocràtica, i el seu pare, DON CARLES, militar i funcionari de la Inquisició. La intenció dels pirates, capitanejats per Saïd, és obtenir un bon rescat pels homes presoners i vendre les dones al mercat desclaus dAlger, pràctica habitual i documentada de lèpoca. Durant la travessia cap a Alger, les relacions dodi entre les dues comunitats van esdevenint cada cop més dures i més tenses, però entre BLANCA i SAÏD neix un corrent mutu de simpatia que no trigarà gaire a esdevenir un amor apassionat. Això fa que els pirates se sentin traïts pel seu capità i amenacin amb un motí, que gairebé arriba a dur-se a terme; per part dels cristians, representa la condemnació absoluta de Blanca per la seva traïció religiosa, social i racial. Gràcies a la traïció de JOANOT, un dels pirates que és subornat pels cristians, aquests recuperen el control del vaixell i aconsegueixen de vèncer i eliminar els pirates, però al moment que van a executar SAÏD, es troben que BLANCA es disposa a defensar-lo amb la seva pròpia vida i senfronta amb la resta de cristians i amb el seu propi pare. Finalment, després de tota una colla daventures, BLANCA i FERRAN proporcionen a SAÏD una petita xalupa perquè sescapi, però són descoberts per DON CARLES al darrer instant que dispara sobre SAÏD causant-li la mort. BLANCA en veure-ho decideix suïcidar-se. Lespectacle es clou amb una reflexió sobre les conseqüències dels odis racials i nacionals, amb totes les implicacions dramàtiques que això comporta. (LEspectacle MAR I CEL va ser estrenat per la Companyia DAGOLL DAGOM lonze doctubre de 1988 al Teatre Victòria de Barcelona)
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The story of an Indian family separated by a painful event that eventually finds their way back together. In 2045, Naina Ranjeeva writes a letter to recount the journey that led to the adoption of her son Nikhil. Decades earlier, she stumbles upon a lead on the location of her aunt, who had disappeared when Naina was just a child. After her aunt's disappearance, Naina's family also completely lost contact with her beloved younger cousin, Nitu. With her aunt's location in hand, Naina takes the first step toward locating her cousin by traveling to the Republic of East Africa to search for her aunt. Her journey eventually leads her to Calcutta where she finds her cousin Nitu and his three-year-old son Nikhil. After two decades apart, the family starts to bridge the gap caused by years of separation, within the backdrop of political turmoil and revolution in East Africa.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Desde la Antigüedad la literatura y las artes plásticas siempre estuvieron relacionadas y a partir de las observaciones de Aristóteles fue posible establecer una serie de preceptos que serían muy útiles para la creación artística. En el marco de estas observaciones el presente volumen reúne una serie de estudios que ponen en relación el arte dramático con el pictórico en el Siglo de Oro, estudios que tratan desde los paralelismos que en esta época se establecieron entre el oficio del pintor y del poeta, a la influencia directa que ejerció la pintura de Ribera y Rubens en la obra dramática de Calderón, pasando por la écfrasis, uno de los recursos más explotado por los poetas dramáticos de la época .
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
