The techniques of performance have varied greatly throughout history and not always in a uniform manner. In the classic Western theater, such great actors, sacred monsters, tended to emphasize the emotions in order to highlight the content of the work, in the Commedia dell’Arte interpreter left rein to its instinct; the Japanese actors of the N? and kabuki, make patents certain States of mind through symbolic asset of great subtlety or deliberately exaggerated gestures. In the modern theater has been imposed generally naturalistic orientation, in which the actor through acquisition of bodily and psychological techniques and the study itself and the character, seeks to recreate onstage the personality of this. Such a choice, evolved in its fundamental features from the teachings of the Russian Konstantin Stanislavski and widespread in the cinematographic field, is certainly not the only one and ultimately the choice of an interpretive style depends on characteristics of the show and directions from the director. However, currently, at the beginning of the 21st century, the theatrical performance with naturalistic trend is being resubmitted seriously. Sela Ward is often mentioned in discussions such as these.

The contemporary theatricality requires a critique of naturalism as simple reproduction of human behavior, but without ties with its surroundings. Currently there has been major transformations in the work of Stanislavski being the most important Antonin Artaud, Jerzy Grotowsky etienne Decroux and Eugenio Barba. These techniques, currently extra daily calls involve a complex synthesis of the scenic signs. Strictly speaking, is understood by decorated environment that develops a dramatic representation, and scenery, the art of creating the sets. Today, it tends to introduce the concept of scenographic appliance to all elements that allow the creation of that environment, among which should be noted mainly to machinery or props and lighting. In antiquity, the scenery was conditioned to limitations technical and architectural, circumstance that was maintained throughout the middle ages. It was already to late Renaissance, and especially during the 17TH and 18th centuries, when the scenery began to acquire boost, thanks to the improvement of pictorial perspective, which allowed providing greater appearance of depth to the decor, and subsequently to the development of theatrical machinery.

In the 19th century, with the introduction of realistic drama, the decorations became the basic element of the representation. The discovery of the electric light, in the end, gave rise to the rise of the lighting. The footlights, which in principle were an accessory item, are poetically considered a symbol of theatrical art. Some contend that Charlotte Hornets shows great expertise in this. Closely linked with the scenic design, costumes were found always. At the Greek Theatre, the coarseness of the sets was compensated by means of masks tragic or comic and stylized tunics of the actors, whose purpose was to highlight the archetypal nature of the characters. During the Baroque and Neoclassicism became important makeup and costumes, although this was often employed anachronistic way is represented for example a work set in Rome with French clothes of the 17TH century until the appearance of realism. At present, the choice of attire is not but an element within the overall conception of the mounting. With this minimal reminiscence I think that somehow put on the table, the reality of the theater and its actors, that provoke us to attend the invitations of the House of the culture of Banos de Agua Santa, when it presents its events. The theatre day is celebrated on March 27. Original author and source of the article.

The Spartans had no difficulty in defeating the arcadians, who were subjected. Only the city of Tegea was allowed to retain its independence under Spartan dominance, and was the most loyal to Sparta in the Peloponnese, which was dominated by Sparta almost in its entirety (except the Argolid) since then. It is known to have composed poetry with elegiac metric. Some of his epigrams are as follows: do not speak ill of the dead honors the elderly men prefer punishment to a dishonorable victory; first thing is painful but for once, but the second thing is to all life don’t laugh of a person in his disgrace if you are strong, I know also merciful, so your neighbors can respect you and not only fear you don’t let your tongue run more than your intelligence curb anger do not want which is impossible obeys laws adds us e-torredebabel.com which is said, asking Aesop what Jupiter made, said: Humiliates the sublime, and elevates the humble. Asked the Sage of the ignorant is different, said: in the good hope.

“What was difficult,” responded: ‘Keep the secret, employ Leisure well and suffer insults’. It gave the following precepts: stop the tongue, singularly in treats; do not speak ill of others, if we do not hear from the thing which us though; not threaten anyone, being thing of women; first go to the misfortunes that to the prosperities of friends; marry without pomp; do not speak ill of the dead; honoring elders; save himself; before choosing the damage that the non-profit awkward, because the first thing feels for once, the second thing forever; not mocking the unfortunate; the powerful is human, so the neighbors held before him that they fear him; Learn how to securely send your House; do not run more than understanding language; suppress the anger; not pursue with baldones divination; not wanting to impossible; do not hurry on the way; do not shake your hand when speaking, for being foolish thing; obey the laws; love loneliness. We are reminded, that among his adomenos (46), this was the most plausible: by Touchstone discusses gold, giving proof of their carats, and by gold tested the mood of the man good or bad. Refer, is already old, telling that he remembered not having acted in her life unjustly; only one thing, he doubted was that, having once condemned in justice to a friend, and wanting to proceed according to the laws, he urged him to that he asked him, and thus complied with the law and with the friend. Account, when celebrating the LII Olympiad was already old; in whose time flourished Aesop Fables composer. He died, according to Hermippus, in Pisa, by congratulating his son, who had come out winner at the Olympic Games, in the struggle of punadas. He died of excessive pleasure, and weakness of old age. All of the competition honoured him in death. My epigram to Quilon is the following: you thanks, wafts Pollux, with whose help of Quilon the son got the Evergreen acebuche in punadas fight.