clipping digital
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - STA Programe Web
clipping digital - Notes Shakespeare Everywhere:                                                                Taking Sha...
clipping digital - Notes Shakespeare Everywhere:                                                                Taking Sha...
clipping digital - Notes Shakespeare Everywhere:                                                                    Taking...
clipping digital                                                                     Notes New Buildings for ShakespeareNO...
clipping digital                                                                     Notes New Buildings for ShakespeareNO...
clipping digital                                                                            Notes New Buildings for Shakes...
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Instituto Gandarela - Clipping Digital 2012

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Transcript of "Instituto Gandarela - Clipping Digital 2012"

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  22. 22. clipping digital - Notes Shakespeare Everywhere: Taking Shakespeare OversasNOTES – Shakespeare Everywhere: Taking Shakespeare Overseas | 2012 STA Conference at Orlando Shakespeare Theater 08/03/12 13:21 2012 STA Conference at Orlando Shakespeare Theater Orlando, FL | February 29 – March 3, 2012 NOTES – Shakespeare Everywhere: Taking Shakespeare Overseas Posted on March 2, 2012 by Jay | Leave a comment Shakespeare Everywhere: Taking Shakespeare Overseas Moderator: Patrick Spottiswoode – Shakespeare’s Globe Panelists: Jerzy Limon – Gdansk Shakespeare Festival, Poland; Luisa Rovida de Sanctis – Teatro Licinium, Italy; Mauro Maya and Aimara Resende – Instituto Gandarela, Brazil March 1, 2012, 2:00pm-3:10pm Materials Mentioned: book: Genius of Shakespeare by Jonathan Bate (1998) website: European Shakespeare Festival Network-http://www.esfn.eu Session Summary: The session discussed the idea of translating Shakespeare’s text into different languages. We deliberated on the fact that Shakespeare can be adapted to different languages and in what aspect, whether it be through literally translating the language, adapting the story, or carrying over characters/plot. Notes: “One touch of Shakespeare makes the whole world kin” We want to explore how Shakespeare is translated and translated theatrically as texts in different countries. We want to discover how cultures adopt Shakespeare as a whole. Luisa: Translating is one of the biggest sacred monsters. What is the purpose of a translation? Logical or dramaturgical? The common themes when translating are passionate and provocative. Normally translations have been done by writers themselves; however, we do not have this luxury. 1726, first Italian to mention Shakespeare. 1983, The Tempest was translated in Old Naples tongue. It was performed by prisoners along with famous Italian actors. For example, Shakespeare Behind Bars. 34,000 performance entertainment venues in Italy, In recent years, English has been a requirement starting in Kindergarten. Shakespeare is introduced to them though little puppet characters. Where as older students will read and perform Shakespeare in English.http://sta2012.wordpress.com/2012/03/02/notes-shakespeare-everywhere-taking-shakespeare-overseas/ Page 1 of 3
  23. 23. clipping digital - Notes Shakespeare Everywhere: Taking Shakespeare OversasNOTES – Shakespeare Everywhere: Taking Shakespeare Overseas | 2012 STA Conference at Orlando Shakespeare Theater 08/03/12 13:21 in English. Jerzy:There are 5 or 6 complete works in different translations. Political engagements, sensitivity A big question in translating the text is, How do we translate sexual innuendo? In order to translate this, the actor must physicalize it in order to make the text clear. Another way is that the translator would need to modernize it to make it understandable. Shakespeare text is treated as a form of “existence of theatre” in the English speaking world. Shakespeare is taught in the schools of Poland. There are 3 plays that are required in the curriculum–Hamlet being one of them. The teachers are taught new technology, acting, and directing among other courses. Main issue: What is the need of the audience? Poland is one of eight countries that partake in The European Shakespeare festival. Mauro: Brazil, not just a country of Football and Carnival. A New Globe will be opening in Brazil. Translating Shakespeare into Portuguese Brazil needs to represent Shakespeare. Brazil wants to learn and share the language Shakespeare has created for us. The Globe in Brazil can resolve the problem of not having theatre in schools. Italy has very good translations that are considered classic. They use an Italian that is culturally elevated, but sill accessible. They do not have the need for new translations because the updating comes by itself. They want the commitment, passion, and vision of the directors to influence the work. European Shakespeare Festival Network – Counties involved: Hungary, Romania, Germany, Spain, Britain, Poland, Denmark In terms of collaborating with different countries, the grants/funding for the European countries cannot be spent on companies outside of Europe. William Brown (Arabian gulf): Have any of you played with mixed languages? If so, how was it received? Luisa: When translating from the original into Italian we try to match the different translations, not choose the best one.The first thing to do, is find the best possible translation for that specific work you have chosen to produce.The sources are usually from highly recognized translators. You are not obliged to follow a single author, but you may have a mix of Italian translations. Jerzy: You can have a mix of languages in one show. It has been very interesting and fruitful. Tina Packer: Different sections of society use Shakespeare for their own purpose. Are there things that have come from philosophy or psychology that you as a country have made a movement? How do we use shakespeare? Jerzy: Shakespeare has always been political, especially after WWII. First production after Stalin’s death was Hamlet. Dealing with everyone eavesdropping on everyone else. This made a political statement. There was censorship, but it wasn’t as severe as it was in other countries.http://sta2012.wordpress.com/2012/03/02/notes-shakespeare-everywhere-taking-shakespeare-overseas/ Page 2 of 3
  24. 24. clipping digital - Notes Shakespeare Everywhere: Taking Shakespeare Oversas NOTES – Shakespeare Everywhere: Taking Shakespeare Overseas | 2012 STA Conference at Orlando Shakespeare Theater 08/03/12 13:21 censorship, but it wasn’t as severe as it was in other countries. Luisa: Referencing this as culture makes it a matter of how the director wants to address the attention. For Italy, it is something more in the past. (Folger Theatre): For schools that are reading Shakespeare in english, are they reading Shakespeare’s words or modernized english versions? Jerzy: Shakespeare’s Original English Luisa: Shakespeare’s Original English that is then adapted to the lectures.The Italian translation is what is adapted. Translating is betraying the original language. It is like using a half language because there are not enough words in one language to substitute the same amount of words in English. Richard Garner (Georgia Shakespeare) “I love the idea that Shakespeare is not bound by Language.” Regardless of what language it is, the appeal of Shakespeare is clearly universal and strong. But, what is Shakespeare? Is it language, is it folio, is it quarto? Is it characters? Is it based on a specific production, place, and time? What carries over from the original Translation? Do you think of the Rhetoric? Or do you think, what is the story, what is the character? Jerzy: Rhetoric is gone. They don’t understand what Rhetoric is exactly. Conveying it to the present day audience is beyond the reach, unless you do it in the classroom and teach how it was done years ago. The translation is based on the words and how the director sees it. Question to Mauro: You mentioned that theatre or Shakespeare is prohibited in schools? Is it not allowed at all? Mauro: Many schools got rid of theatre and art. Shakespeare is a moment to explore the arts through English. Closing Statement (Patrick Spottiswoode): One of his favorite German Actors told him this: (paraphrased) I feel sorry for you. You live in the country Shakespeare was originated and must perform it how it was intend. In other languages we are free to do as we wish. We don’t have the same guidelines, where as the English language is stuck. Share this: Twitter Facebook This entry was posted in Main Conference, Session Notes and tagged Brazil, Italy, Poland, Shakespeare & Company, William Shakespeare. Bookmark the permalink. Theme: Coraline by Automattic. Blog at WordPress.com. FollowFollow “2012 STA http://sta2012.wordpress.com/2012/03/02/notes-shakespeare-everywhere-taking-shakespeare-overseas/ Page 3 of 3
  25. 25. clipping digital Notes New Buildings for ShakespeareNOTES – New Buildings for Shakespeare | 2012 STA Conference at Orlando Shakespeare Theater 07/03/12 17:21 2012 STA Conference at Orlando Shakespeare Theater Orlando, FL | February 29 – March 3, 2012 NOTES – New Buildings for Shakespeare Posted on March 2, 2012 by Jay | Leave a comment New Buildings for Shakespeare Moderator: Ralph Cohen – American Shakespeare Center Panelists: Jerzy Limon – Gdansk Shakespeare Theatre; Mauro Maya and Aimara Resende – Instituto Gandarela; Neil Constable – Shakespeare’s Globe Friday, March 2, 2012, 4:20pm-5:30pm Session Summary: Three international companies talked about their plans to build new and exciting venues for the exploration of Shakespeare: A Globe Theatre in Bela Horzonte, Brazil; a Fortune Theatre in Gdansk, Poland; and a 17th Century indoor theatre is being built in London. Notes: -BRAZIL- Instituto Gandarela building a Globe Theatre. -Slideshow concerning the beautiful landscape of the country. -Rio Acima bear Bela Horizonte is the site due to beauty and similarity to the London Globe area, location to historical cities, and tourism. -VALE, a mining company donated the land. -The goal is to create a whole Cultural Complex, not just a theatre. -The Cultural Complex will enrich the lives of poor residents through education and artistic endeavors, as well as better social conditions, fostering international activities, teacher training, ecological development. A collaboration agreement will be signed on March 6th between the UK and Brazil. Tourist guides, schoolteachers, and other jobs will arise from this enterprise. It will be enhanced by the 2012 World Cup, 2016 Olympic Games, and is the best time to do this. -The root between London and Brazil: Storytelling, folk dances, communal season representations. -The Complex will establish a “Globe Education Academy” for international cultural exchange, as well as Shakespeare Festival. It will be a celebration of Shakespeare in multiple languages. -Peter MCurdy, Jon Greenfield are major supporters. -Complex will open April 23rd, 2012 SPONSORS STRATEGY: 1. Build and Upkeep-Petrobras, Vale, and BNDES are sponsors. 2. Infrastructure Build and Upkeep leads to environment, education, culture, tourism, ministries, and linking them to the GOVERNMENT, federal, state, and city.http://sta2012.wordpress.com/2012/03/02/notes-new-buildings-for-shakespeare/ Page 1 of 3
  26. 26. clipping digital Notes New Buildings for ShakespeareNOTES – New Buildings for Shakespeare | 2012 STA Conference at Orlando Shakespeare Theater 07/03/12 17:21 3. SPONSORSHIPS-Uniliver, Brasil, Anglo Gold-he hasn’t officially signed a contract yet. -POLAND, Gdansk -Indoor Jacobean Theatre, now being built, should open next year. -Historically, royal patronage supports their theatre, currently by Prince of Wales. -Activity was done before theatre was built. -Video clips of shows done in Gdansk, performances by Wooster Group, they have six different venues for performances. Two years ago, they opened a Blackbox that opens into the street for summer shows. Theatre, music, performance art, body art, even construction of buildings is turned into theatre. -Original theatre has three galleries for spectators, performances from 1630s-1660s, new theatre is being built near the site of the original. -Theatre looks like a Gothic church from the outside. Made of bricks, copper, red and green. The space can be a box, Italian stage, or thrust, and is interchangeable within a matter of minutes. There are wooden galleries. -Photos shown of the technologically difficult construction, opening of theatre should be September of 2013. Neil Constable, GLOBE Shakespeare’s Globe-Ambition is to provide year-round performance, and to complete the interior of the indoor theatre, on the Globe site. They want to create an indoor theatre “which Shakespeare might have recognized”. -The Jacobean Theatre is based on designs by architect John Webb, 350 seats, is in a U-Shape. -Plans for a 24 week Winter Season of four plays from October to April, complementing the Globe’s regular season. -Considering accommodation for audience comfort, disability access, two galleries wrap around the stage, seating 140 each, and a pit seating 60. Intimate space, close audiences, direct address going to be used. The performances will be lit by candlelight, experiments with lighting and acoustics to be authentic to the experience of the plays. -AUTHENTICITY is key, much architectural research. Experiments with candlelight performances at Colleges to prepare for the theatre. The effect of daylight in night performances is being worked out. -Simple Jacobean screens will be used. No over decoration. Sight lines will be challenging. Right experience, right price. Audience will be totally wrapped around stage. -The cost is 7 million, they have raised 5.6 million. Construction to begin in October, completion November 2013. -Current Foyer-reconstruction where buildings will be linked by a mutual space. -Cleaning up front of building, lightening it up, glass front to showcase inside. -Anonymous donor stipulation: it will be called Sam Wannamaker Theatre. Share this: Twitter Facebook This entry was posted in Main Conference, Session Notes and tagged American Shakespeare Center, Brazil, London, Poland, Rio Acima, Shakespeare, Shakespeares Globe, William Shakespeare. Bookmark the permalink. Theme: Coraline by Automattic. Blog at WordPress.com.http://sta2012.wordpress.com/2012/03/02/notes-new-buildings-for-shakespeare/ Page 2 of 3
  27. 27. clipping digital Notes New Buildings for Shakespeare NOTES – New Buildings for Shakespeare | 2012 STA Conference at Orlando Shakespeare Theater 07/03/12 17:21 FollowFollow “2012 STAConference at OrlandoShakespeare Theater”Get every new post deliveredto your Inbox.Enter your email address Sign me up Powered by WordPress.com http://sta2012.wordpress.com/2012/03/02/notes-new-buildings-for-shakespeare/ Page 3 of 3
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