By David Oddie
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Das Verhältnis des „Seneca philosophus" zum „Seneca tragicus" ist für die Interpretation von Senecas Tragödien noch immer entscheidend. Die Autorin widmet sich dem challenge im Bereich der Theologie. Sie untersucht inden philosophischen Schriften und Tragödien sein Verständnis von providentia und damit die Theodizeefrage sowie sein Verständnis des fatum und damit die Willensfreiheit.
Aristophanes' Birds, Wasps, and Frogs supply the best-known examples of the animal choruses of Greek comedy of the 5th century BC, yet sixth-century vase-paintings of guys costumed as cocks, bulls, and horses indicated that comedies have been basically the final part of an extended culture. This publication means that even though the sooner masquerades could have had ritual origins, they need to be visible additionally as items of the tradition of the archaic aristocratic symposium.
"Performing New Lives" attracts jointly one of the most unique and cutting edge courses in modern legal theatre. best legal theatre administrators and practitioners speak about the criminal theatre adventure first-hand, and supply worthwhile insights into its position, functionality, and implementation. quite a lot of legal theatre tasks are mentioned, from long-running, high-profile courses resembling Curt Tofteland's "Shakespeare in the back of Bars" in LaGrange, Kentucky, to fledgling efforts like Jodi Jinks' "ArtsAloud" undertaking in Austin, Texas.
3m, 2f / darkish Comedy / Unit Set In a suburban subdivision with exact homes, mom and dad locate their kids hooked on an internet horror online game. the sport surroundings? A subdivision with exact homes. The aim? break via a military of zombies to flee the local for sturdy. yet because the line blurs among digital and fact, either mom and dad and avid gamers detect that worry has a lifetime of its personal.
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Additional resources for A Journey of Art and Conflict: Weaving Indra’s Net
What follows is a selection of remembered significant moments, fragments and passages of time during my life that informed our crafting of the eventual performance. It’s the Messy Stuff that Makes Us What We Are ... When I was in my twenties, I developed, for no apparent reason, a distressing psychosomatic illness. I was invaded by what I came to label as my ‘lumps’, obtrusive blotches on my skin that grew into mounds and what seemed like mountains. If I had ‘lumps’ on my eyes, they would be virtually closed with the swelling.
Philosopher John Mbiti provides a model of ‘the past that lies before us’, in which we see moments of our immediate, lived, remembered and narrative past stretching out before us. This way of looking at the past makes it possible for us to ‘re-story’ narratives that have collided and clashed (Lederach, 2005:141). As a social scientist working in conflict settings, Lederach expressed concern that ‘we see ourselves to be – and have therefore become – more technicians than artists’. He continued, ‘Time and again, social change that sticks and makes a difference has behind it the artist’s intuition’ (Lederach, 2005:73).
I bent down. After the next stroke, there was a long pause as I held on to my ankles, my body shaking. ’ It was an act of utter humiliation. Years later I rehearsed that scene in my mind. I saw myself standing up, taking the cane from the bully’s grasp, breaking it over my knee and walking out of the room. There was no way I could have made such an act of defiance at the time. I was firmly trapped in the mindset of my context. The next day, which was a visiting day, my mother was upset. She was upset because I was irresponsible and would never be a prefect!