há muito que este Senhor merecia aqui alguma coisinha...
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Sometimes I think that I know
What love's all about
And when I see the light
I know I'll be all right.
I've got my friends in the world,
I had my friends
When we were boys and girls
And the secrets came unfurled.
City of brotherly love
Place I call home
Don't turn your back on me
I don't want to be alone
Love lasts forever.
Someone is talking to me,
Calling my name
Tell me I'm not to blame
I won't be ashamed of love.
Philadelphia,
City of brotherly love.
Brotherly love.
Sometimes I think that I know
What love's all about
And when I see the light
I know I'll be all right.
Philadelphia
quinta-feira, 27 de março de 2008
Mensagem Internacional do Dia Mundial do Teatro
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Por Robert Lepage
Dia Mundial do Teatro , 27 de Março de 2008
Existem várias hipóteses sobre as origens do teatro, mas aquela que mais questiona o meu espírito tem a forma de uma fábula:
Uma noite, em tempos imemoriais, um grupo de homens tinha-se reunido numa pedreira para se aquecer à volta de uma fogueira a contar histórias. Quando de repente, um deles teve a ideia de se levantar e usar a sua própria sombra para ilustrar a sua história . Socorrendo-se da luz das chamas, fez aparecer nas paredes da pedreira figuras maiores do que o natural. Os outros, deslumbrados, foram reconhecendo o forte e o fraco, o opressor e o oprimido, o deus e o mortal.
No nosso tempo, a luz dos projectores substitui a luz da fogueira original e a maquinaria de cena as paredes da pedreira. E com todo o respeito por certos puristas, esta fábula recorda-nos que a tecnologia está na verdadeira origem do teatro, que não deve ser considerada como uma ameaça, mas como um elemento congregador.
A sobrevivência da arte teatral depende da sua capacidade de reinventar-se, utilizando novas ferramentas e novas linguagens. Caso contrario, como poderia o teatro continuar a ser o testemunho dos grandes embates da sua época e promover a compreensão entre os povos, se ele mesmo não desse prova de abertura? Como poderia orgulhar-se de oferecer soluções para os problemas de intolerância, de exclusão e de racismo, se, na sua própria prática, se recusasse à mestiçagem e à integração?
Para representar o mundo com toda a sua complexidade, o artista deve propôr formas e ideias novas e mostrar confiança na inteligência do espectador capaz de reconhecer , ele próprio, a silhueta da humanidade nesse jogo perpétuo de luz e sombra.
É verdade que, por brincar demais com o fogo, o homem corre o risco de se queimar, mas pode também ter a possibilidade de deslumbrar e de iluminar.
ROBERT LEPAGE
QUEBEC , 17 de Fevereiro de 2008
Robert Lepage
Versatile in every form of theatre craft, Robert Lepage is equally talented as a director, scenic artist, playwright, actor and film director. His creative and original approach to theatre has won him international acclaim and shaken the dogma of classical stage direction to its foundations, especially through his use of new technologies.Contemporary history is his source of inspiration, and his modern and unusual work transcends all boundaries.
Robert Lepage was born in Quebec in 1957. He took an early interest in geography, and when he later discovered all art forms, theatre caught his particular attention. He entered the Conservatoire d’art dramatique de Québec in 1975 at the age of 17. After a study period in Paris in 1978 he returned to Quebec and became involved in many creative projects, gaining experience as actor, author and director. Two years later he joined the Théâtre Repère.
In 1984, his play Circulations toured Canada and received Best Canadian Production award at the Quinzaine Internationale de Théâtre de Québec. The next year The Dragon’s Trilogy gained him an international reputation, quickly followed by Vinci (1986), Polygraph (1987) and Tectonic Plates (1988). In 1988 he formed his own professional management company, Robert Lepage Inc. (RLI). From 1989 to 1993 he was Artistic Director of the Théâtre français at the National Arts Centre in Ottawa. Meanwhile pursuing his own creative projects, he directed Needles and Opium (1991-1993/1994-1996), Coriolanus, Macbeth, and The Tempest (1992-1994).
With A Midsummer Night’s Dream in 1992 he became the first North American to direct a Shakespeare play at the Royal National Theatre in London.
A turning point in his career came with the founding of his multidisciplinary production company, Ex Machina, in 1994. Under his artistic direction, this new team produced a steady output of plays, beginning with The Seven Streams of the River Ota (1994), A Midsummer Night’s Dream (1995) and a solo production, Elsinore (1995-1997). In 1994, he made his début in the world of cinema. He wrote and directed his first feature film, Le Confessional, which appeared the following year at the Cannes Festival Directors’
Fortnight. He went on to direct The Polygraph in 1996, Nô in 1997, Possible Worlds in 2000 (his first feature film written in English), and finally, in 2003, a film adaptation of his play The Far Side of the Moon.
Robert Lepage November 2007
The Caserne, a multidisciplinary production centre in Quebec City, opened in 1997 under Robert Lepage’s leadership. In their new quarters he and his team created and produced Geometry of Miracles (1998), Zulu Time (1999), The Far Side of The Moon (2000), La Casa Azul (2001), The Busker’s Opera (2004), a new version of The Dragon’s Trilogy with a new cast (2003), and 1984, an opera based on the novel by George Orwell, composed and conducted by Lorin Maazel (2005). This was followed by The Andersen Project (2005), Ex Machina’s new production, Lipsynch (2007), and The Rake’s Progress by Igor Stravinsky, which premiered at the Théâtre Royal de la Monnaie in Brussels in April, 2007.
Dia Mundial do Teatro , 27 de Março de 2008
Existem várias hipóteses sobre as origens do teatro, mas aquela que mais questiona o meu espírito tem a forma de uma fábula:
Uma noite, em tempos imemoriais, um grupo de homens tinha-se reunido numa pedreira para se aquecer à volta de uma fogueira a contar histórias. Quando de repente, um deles teve a ideia de se levantar e usar a sua própria sombra para ilustrar a sua história . Socorrendo-se da luz das chamas, fez aparecer nas paredes da pedreira figuras maiores do que o natural. Os outros, deslumbrados, foram reconhecendo o forte e o fraco, o opressor e o oprimido, o deus e o mortal.
No nosso tempo, a luz dos projectores substitui a luz da fogueira original e a maquinaria de cena as paredes da pedreira. E com todo o respeito por certos puristas, esta fábula recorda-nos que a tecnologia está na verdadeira origem do teatro, que não deve ser considerada como uma ameaça, mas como um elemento congregador.
A sobrevivência da arte teatral depende da sua capacidade de reinventar-se, utilizando novas ferramentas e novas linguagens. Caso contrario, como poderia o teatro continuar a ser o testemunho dos grandes embates da sua época e promover a compreensão entre os povos, se ele mesmo não desse prova de abertura? Como poderia orgulhar-se de oferecer soluções para os problemas de intolerância, de exclusão e de racismo, se, na sua própria prática, se recusasse à mestiçagem e à integração?
Para representar o mundo com toda a sua complexidade, o artista deve propôr formas e ideias novas e mostrar confiança na inteligência do espectador capaz de reconhecer , ele próprio, a silhueta da humanidade nesse jogo perpétuo de luz e sombra.
É verdade que, por brincar demais com o fogo, o homem corre o risco de se queimar, mas pode também ter a possibilidade de deslumbrar e de iluminar.
ROBERT LEPAGE
QUEBEC , 17 de Fevereiro de 2008
Robert Lepage
Versatile in every form of theatre craft, Robert Lepage is equally talented as a director, scenic artist, playwright, actor and film director. His creative and original approach to theatre has won him international acclaim and shaken the dogma of classical stage direction to its foundations, especially through his use of new technologies.Contemporary history is his source of inspiration, and his modern and unusual work transcends all boundaries.
Robert Lepage was born in Quebec in 1957. He took an early interest in geography, and when he later discovered all art forms, theatre caught his particular attention. He entered the Conservatoire d’art dramatique de Québec in 1975 at the age of 17. After a study period in Paris in 1978 he returned to Quebec and became involved in many creative projects, gaining experience as actor, author and director. Two years later he joined the Théâtre Repère.
In 1984, his play Circulations toured Canada and received Best Canadian Production award at the Quinzaine Internationale de Théâtre de Québec. The next year The Dragon’s Trilogy gained him an international reputation, quickly followed by Vinci (1986), Polygraph (1987) and Tectonic Plates (1988). In 1988 he formed his own professional management company, Robert Lepage Inc. (RLI). From 1989 to 1993 he was Artistic Director of the Théâtre français at the National Arts Centre in Ottawa. Meanwhile pursuing his own creative projects, he directed Needles and Opium (1991-1993/1994-1996), Coriolanus, Macbeth, and The Tempest (1992-1994).
With A Midsummer Night’s Dream in 1992 he became the first North American to direct a Shakespeare play at the Royal National Theatre in London.
A turning point in his career came with the founding of his multidisciplinary production company, Ex Machina, in 1994. Under his artistic direction, this new team produced a steady output of plays, beginning with The Seven Streams of the River Ota (1994), A Midsummer Night’s Dream (1995) and a solo production, Elsinore (1995-1997). In 1994, he made his début in the world of cinema. He wrote and directed his first feature film, Le Confessional, which appeared the following year at the Cannes Festival Directors’
Fortnight. He went on to direct The Polygraph in 1996, Nô in 1997, Possible Worlds in 2000 (his first feature film written in English), and finally, in 2003, a film adaptation of his play The Far Side of the Moon.
Robert Lepage November 2007
The Caserne, a multidisciplinary production centre in Quebec City, opened in 1997 under Robert Lepage’s leadership. In their new quarters he and his team created and produced Geometry of Miracles (1998), Zulu Time (1999), The Far Side of The Moon (2000), La Casa Azul (2001), The Busker’s Opera (2004), a new version of The Dragon’s Trilogy with a new cast (2003), and 1984, an opera based on the novel by George Orwell, composed and conducted by Lorin Maazel (2005). This was followed by The Andersen Project (2005), Ex Machina’s new production, Lipsynch (2007), and The Rake’s Progress by Igor Stravinsky, which premiered at the Théâtre Royal de la Monnaie in Brussels in April, 2007.
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quarta-feira, 26 de março de 2008
quarta-feira, 19 de março de 2008
E agora para algo completamente diferente :) um post para sorrir
Rua Sésamo (hum...peixe, peixe, peixe, peixe, peixe...)
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sexta-feira, 14 de março de 2008
Man under the sea & The great escape
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Aula Magna, Lx, 13.3.2008
Foi lindo!
PS: Que quatro gajos loucos!
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Aula Magna, Lx, 13.3.2008
Foi lindo!
PS: Que quatro gajos loucos!
quinta-feira, 13 de março de 2008
quarta-feira, 5 de março de 2008
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