Canular n°21 - 3 - Pièces de Plaute

Niveau : difficile

Retrouvez les véritables titres des pièces de Plaute. Attention aux pièges tendus par notre farceur de service !



L'Amphi triomphe
La Comédie des mânes
L'Arthrite à l'annulaire
Les Baksheeshs
Les Califes
Elastina ou l'étireur de corps
La Cafèt'
Le Paramythe
"Et pis" dit Guss
Les Mémères
Le Charmant
Le Seul Dard fanfaron
La Psalmodie de Brantôme
L'Oeil perçant
Le Petit Cartable grivois
Le Pasteur
Le Corsage
Minus
Les Trois Ecumes
Le Futal


Réponses ci-dessous. Answers below.

Canular n°21 - 3 - Pièces de Plaute
Amphitryon
La Comédie des ânes
La Marmite ou l'Aululaire
Les Bacchides
Les Captifs
Casina ou les Tireurs de sort
La Cassette
Le Parasite
Epidicus
Les Ménechmes
Le Marchand
Le Soldat fanfaron
La Comédie du fantôme (Le Revenant)
Le Persan
Le Petit Carthaginois
L'Imposteur
Le Cordage
Stichus
Les Trois Ecus
Le Brutal




Sabine Chaouche
04/27/2017

European Drama and Performance Studies - list of publications

Published:
N°1 - Le Développement du "grand spectacle" en France: Politiques, gestions, innovations. 1715-1864 - 2013 - 1
N°2 - L'Eloquence du silence. Dramaturgie du non-dit sur la scène théâtrale des XVIIe et XVIIIe siècles - 2014 - 1
N°3 - Le document iconographique dans son contexte : le hors-champ des images du spectacle - 2014 - 2
N°4 - Dance and the Dutch Republic - 2015 - 1
N°5 - Consuming Female Performers (from the 1850s to the 1950s) - 2015 - 2
N°6 - Shakespeare en scène, hier et aujourd'hui - 2016 - 1
N°7 - Le Suicide au théâtre - 2016 - 2
N°8 - Danse et morale, une approche généalogique/Dance and Morality : a diachronic historical approach 2017-1
[HS 1] - Déjouer l'injouable : la scène contemporaine à l'épreuve de l'impossible 2017
N°9 - Écrire pour la scène : auteurs de théâtre (XVe-XVIIIe siècles) 2017-2

Sabine Chaouche
05/21/2017

Canular n°20 - 2 - Pièces de Sophocle

Niveau moyen

Retrouvez les véritables titres des pièces de Sophocle. Attention aux pièges tendus par notre farceur de service !

Tampax
Anti-gnôme
Les Trolls qui viennent
Vieux type roi
Les Spectres
File l'octet
Le Zip à colonnes
Les Piliers


Réponses ci-dessous. Answers below.

Canular n°20 - 2 - Pièces de Sophocle
Ajax
Antigone
Les Trachiniennes
Oedipe roi
Electre
Philoctète
Oedipe à Colone
Les Limiers

Sabine Chaouche
04/27/2017

Canular n°22 - 2 - Pièces d'Aristophane

Niveau : moyen

Retrouvez les véritables titres des pièces d'Aristophane. Attention aux pièges tendus par notre farceur de service !

Les Acharnés
Les Caves alliées
Les Buées
Les Guêpières
Les Oies d'eau
Les Thermo-souris
L'Aigre Nouille



Réponses ci-desous! Answers below!

Canular n°22 - 2 - Pièces d'Aristophane
Les Acharniens
Les Cavaliers
Les Nuées
Les Guêpes
Les Oiseaux
Les Thesmophories
Les Grenouilles

Sabine Chaouche
05/09/2017

Gallery
Wednesday, June 15th 2011
Read 389 times

Second issue of UpStage





In it you will find:

Second issue of UpStage
Susan Shelangoskie’s article entitled “Spiritualism and the Representation of Female Authority in Shaw’s Getting Married.” In her innovative essay, Shelangoskie discusses a 2008 Ontario Shaw Festival production of the play and argues that the location of Mrs. George, a spiritualist medium, at the center of the play’s discourse draws provocative connections between the qualities of the spirit and the medium at a séance and the emerging modes of female authority.

Ellen E. Dolgin’s article ‘The Landscape of Beyond: Barbara’s Disillusionment and transformation in Bernard Shaw’s Major Barbara,” which focuses on the battles between youthful rebellion and established social mores through an examination of the roles of Major Barbara and Andrew Undershaft. Dolgin links this rage against the status quo with that of Vivie Warren and her mother in Mrs Warren’s Profession and ponders the curiously revisionist ending of the play from such an apparently feminist dramatist.

Charles Marowitz’s current research project, “The Fall of Meyerhold,” which examines the reasons behind Meyerhold’s fall from grace and explores the innovations and legacy of Meyerhold’s work. Considering politics and contemporary anxiety about the reaches of the state to on-going concerns about censorship, Marowitz notes that Meyerhold was at the forefront of experiments not only from the standpoint of the theatre experience of the practitioner, but also from that of the audience. Marowitz argues that “Meyerhold forced audiences to interpret not merely the implications of story-telling but the kinesthetic reality of actors acting.” He places Meyerhold firmly at the centre of phenomenological approaches to theatre practice, linking his artistic developments, like Picasso’s, to contemporary explorations of theatre and synaesthetics, as well as and to the theoretical approaches of Barthes and Derrida.

Tara Aveilhe’s review of The Collected Letters of Ellen Terry, Vol. I (Katharine Cockin, ed., London: Pickering and Chatto, 2010), a much-anticipated volume that offers fascinating insight into the actor’s creative and personal life.

Arline Cravens’s review of Routledge Drama Anthology and Sourcebook (Maggie B. Gale and John F. Deeney, eds., New York: Routledge, 2010), a capacious and ambitions collection of the foundational texts of modern(ist) theatre.

The details of Michelle Paull’s lecture on G.B. Shaw, as well as several other announcements of interest to the scholars and students of theatre and the fin de siècle.

As always, we owe a debt of gratitude to David Rose for his tireless work, encouragement, and support. Special thanks to Steven Halliwell of Rivendale Press, Richard Dietrich, John McRae, Jeffrey Skoblow, and Lawrence Switzky, as well as to our authors and to our colleagues from the “Rose Garden.”

Please note that we now accept submissions all year round. Ideas for possible special issues are welcome; please contact the editors.

We hope that you will enjoy this issue and consider contributing to future ones.

Helena Gurfinkel, and Michelle Paull, Co-Editors

sc - H. Gurfinkel



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