À morte de Leandro e Hero (Portuguese Edition)

Artistas com a letra 'L'

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He also composed two dramatic dialogues for student awards ceremonies at the end of the school year in Coimbra in , involving Justitia, Victoria, Spes, Puer and Chorus, and in Iuvenis, Praeco, Philologus and Bubulcus. Next to his tragedy, comedy and tragicomedies, Crucius published a Christmas eclogue, which also consists of five parts with choruses and dances. Emmanuel Pimenta composed the eclogue Aepolus in , which contained a prologue in thirteen elegiac couplets followed by five- hundred and fifty hexameters, and placed Theocritean elements in a Portuguese geographical framework.

He must have rewritten his other dramas likewise, knowing he could not expose to literary criticism the texts in which the slight errors went unnoticed on stage because of the swiftly paced dialogue, magnificent sets, the beauty of 52 the actors and their grace in the use of gestures and elocution. Crucius accepted delight to avert evil and increase piety and virtue, making honesty more attractive than vices. In Vita humana, he amplified the human vices in the image of the superb Philautus and his spoiled son Charistus, of the angry Orgestes, the miser Polypus, the glutton Pamphagus, the envious Eumenes and the slothful Philotius; he censored the pride of the noble who despised and unfairly beat the peasant who was treating his own son inhumanely, reminding him that they were made from the same clay and that the rich live off the labour of the poor; he mentions the victory of Lepanto together with the plague that ravaged Portugal in He appealed to insults, to irony and to the humour of the situations in this comedy and in his tragicomedies.

Manasses, which was prepared at the college of Evora in , was the only one of his printed dramas that was not staged because of the turbulent times. He translated various scenes into Spanish when it was performed in the Cathedral in the joint celebration of Corpus Christi and the feast of St. It contains unconnected episodes that illustrate how those who obstinately cling to evil end up in Hell, while the repentant go to Heaven after passing through Purgatory.

A similar plot, revolved around the urgency of conversion, is found in Occasio, performed in Seville in to open the academic year. Ferdinandus de Avila of Malaga copied, summarised or translated into verses several scenes from Metanoea in his Historia Floridevi, an allegorical comedy in four acts in prose and verse, with poems and other parts in Spanish, acted by the students of Seville around — Theologian Franciscus Ximenez c.

In addition to several plays, another entertaining, pedagogical dramatic dialogue in Latin and Spanish entitled De methodo studendi by Rodriguez has survived, as well as his Exercitatio literarum habita Granatae, and his Actio in honorem Virginis Mariae in three scenes. Rodriguez wrote in Techmitius two hundred lines in prose and one hundred and forty-four verses in Latin; on 23 January , he had performed Parenesia at Cordoba before four thousand spectators alternating scenes in Latin and Spanish, but he later removed the passages in Latin or replaced them with other vernacular passages.

Jesuit drama in Castile: But in general, they lacked the gravity, the constant use of Latin tragic verses, and other features of this genre. Nabal was based on the life of David and recounted his marriage to Abigail after she was widowed I Samuel 25 ; a pastoral poetry competition features the shepherds Thyrsis, Battus and Palaemon; these names are drawn from Theocritus and Virgil, whose verses are imitated in many passages. He often 55 Cf. Alonso, La Tragedia de San Hermenegildo, pp. In Medina del Campo, in addition to the clergy, patrons and other personages, we know of the presence of artisans, functionaries, merchants, peasants and cattle farmers in the area.

This choir also sang the polyphonic chants at the start of the acts and in other parts of Tragoedia divi Hermenegildi; we know the names of the soprano, alto and bass. The Spanish poems at the end of his plays added nothing essential to the plot: Towards the end of the second act of Manasses, Crucius presented demons dancing wildly to the rhythm of trochaic rhymed couplets of octosyllables and 57 heptasyllables; Sousa included traditional dances in Real Tragicomedia.

These two Jesuit playwrights and pedagogues ignored the classical rules in their plays, and Bravus neglected the dramatic genres in his Liber de arte poetica, since rather than genuine dramas, his school performances were more like an amalgam of dialogues and short oratorical and poetic compositions.

Every passage required an emphatic, ironical, imploring, urgent, recriminatory, admiring or encouraging tone in order to move the audience to laugh, cry, be angry, fearful or experience any other emotion. Dozens of precepts relating to the movements of different parts of the body — depending on the issues, feelings and the part of the speech — were established, since the movements for the head, eyes, lips, neck, 58 shoulders, arms, hands, fingers, legs and feet were codified.

Dramatic performances existed in Monterrey from , with sections in Latin, Spanish and other languages. Since , the Libros de Claustro of the University of Santiago de Compostela ordered a tragedy and a dance to be written and staged; in , they had to be written in Latin, but in , it was agreed they would be in Romance with a few words in Latin, a symptom of the decline of Neo-Latin 59 drama. Franciscus Sanctius Brocensis and Michael Venegas in Salamanca Franciscus Sanctius Brocensis — received a bonus from the University for music in a comedy in ; but except for a few verses, the dramas for which he demanded payments, have not survived: Asuerus was the title of another play performed in Murcia the first day of , on the tragic fate of Haman narrated in the biblical book of Esther.

The great philologist and grammarian of Extremadura was overshadowed as a dramatist and poet by Venegas, and he later recommended that only ancient works be performed. In Salamanca, Juan de Flandes earned twelve ducats in for his comedy; a piece by Franciscus Martinez 60 was performed again in and another work from was performed again in Apologizing for his departure from the classical rules in his plays and the low literary quality of which he was accused, he explained in the prologue to Lobenia that he sought to teach his students manners and keep them from gambling through useful entertainment.

He used the theatre to attract students and gain the favour of the municipal citizens who assigned chairs and rewarded his Valencian performances in , , , and Fragments of a Dialogus performed in January and four comedies have survived because he published them between and as examples to enliven the study of his rhetorical treatises. He introduced short speeches in Spanish, and more rarely in Catalan in Sigonia, staged on 1 May , and in Octavia, in which he condemned a mother who only valued traditional religious practices and lineage.

The Latin prologue to Lobenia, acted on 13 January , contains only a sentence in Catalan, precisely to censor the use of the vernacular; he justified the use of Romance because of the viewers who knew no Latin, and Calliope admitted that it would be rude to throw them out of the theatre.

However, he justified having put a good deal of Romance in Fabella Aenaria on 8 February , since six months earlier he had been denied a prize for writing the play in Latin; the speeches and digressions that did not interfere with the main plot, in the service of the exercise of the hypotyposes studied in rhetoric class were usually in Latin; in fact, this play was printed after Phrases Ciceronis, Hypotyposes and Oratio Palmyreni post reditum.

It was performed at Carnival, which explains its bizarre episodes and female protagonism as a subversion of the established order; it has a novelesque plot in an exotic and distant geographical framework in Vespasian times featuring adventurer knights and enamoured princesses. He combined situations, characters and other elements from ancient comedies, from historical tales and ancient, medieval and Renaissance stories and fables, from Spanish reality and from contemporary Valencia.

He introduced rogues, Gypsies, bachelors, drunks, fools and other humorous characters. A dialogue in a less elegant Latin, if possible, belonging to the same collection, may also have been staged. Despite complaints about the excessive luxury in the plays in Plasencia in late and in June , a tragedy on priest Melchizedek, an elegant and amusing comedy in Latin, and other dialogues and school exercises with many decorations and contraptions were performed in ; scenic designs in were even more spectacular.

Gallego, Juan Lorenzo, pp.

Artistas com a letra L - VAGALUME

Ortuinus, Gingolphus, Lupoldus; tres item celebres viri, Joannes Reuchlin, Desiderius Erasmus, Jacobus Faber, de rebus a se recenter factis disceptantes. Valencia, ; from Epistolae obscurorum virorum, Leipzig , pp. A Latin eucharistic play, entitled Colloquium de Eucharistia figura Exodi, cap. It was recorded that a colloquy on the parable of Lazarus and the rich man was performed in ; other colloquies were composed in Latin by the professor of Latin at the University of Saint Marc in ; a comedy about Saint Paulinus of Nola was staged in Lima in , as was a tragedy about Scottish Queen Mary Stuart in and other lost pieces.

In the Viceroyalty of New Spain, Jesuits started their dramatic activity shortly after arriving in Jesuit colleges in India, Japan and the Congo staged plays on the same subjects as Neo-Latin drama, or at least with a title in Latin, such as the dialogue Desideria Sanctorum Patrum in Goa in Osorio, Colegios y profesores jesuitas, pp.

Technologies

Azebedi et sociorum martyrio, another by Ioannes Laurentius involving Lusitania and Brasilicon, and a third one featuring the Virgilian and Theocritean shepherds Corydon and Lycidas. Ocio was performed in Puebla the eve of St. Jerome 29 September , patron of that Mexican school, whom Cigorondo presented as a model of industry. It contains songs with musical accompaniment and elements of indigenous culture and the commercial and evangelising theatre.

He used iambic senaries and octonaries, hexameters and elegiac couplets in its Latin verses. The three parts in Latin could have constituted a short, independent piece: In the New World, the evangelising purpose required the priority use of vernacular languages aside from Spanish and Portuguese. Latin Professors and Dramatists at the University of Barcelona At the University of Barcelona, only the competition between the professors of the two existing grammar classes from to produced dramas: Antonius Pinus composed around an elegant Latin comedy in verse about the battle of Lepanto, which survived until in the monastery where he entered in Two of his colleagues had sent his plays to be printed: Neo-Latin dramas acted as conversation exercises set by professors who were in favour of students beginning to speak Latin early so as to assimilate it better.

The Jesuits adopted the same humanistic maxims on few precepts, many examples and abundant exercise. The vocabulary and phrases supplied by modern pieces were more helpful than ancient dramas in order to revive classical Latin as a spoken language. For this purpose, Florus, Parthenius, Maldonatus, Cassianus, Petreius, Mallara, Sanctius, Acevedus, Bravus, Llanos and other dramatists also composed grammatical and oratorical manuals to teach how to write and speak Latin, deliver orations and write other school compositions.

The performances allowed oratorical and poetical genres learnt in the classroom to be practised in public along with the technical and rhetorical devices needed for declaiming 67 with appropriate gestures. In , the Jesuits prescribed dialogues, short speeches and verses; their students were also made to recite declamations, controversies and other progymnasmata in public, such as those mentioned by Acevedus at the college of Cordoba and recited from October on; some of his performances consisted of rhetorical exercises on a certain subject connected by short dialogues.

One of his Latin pieces contains a dialogue in prose and an epinicion in verse for a literary competition in the classroom; the heads of each side, their soldiers, Victoria, a trumpeter and three decurions took part in it. Many Jesuit dramas adopted from the Oratory the threefold purpose of teaching, delighting and moving docere, delectare and movere , the three kinds of rhetoric, and even the parts of the speech: As in classical comedy, the characters usually lacked psychological development, 68 except for that derived from the repentance of sin.

The quality of such dramas and dialogues by young people and inexperienced professors was not very high. Jesuit performances were commonplace at the start of the school year, such as the comedy that increased the number of students dramatically in Medina del Campo in Acevedus praised Pope Pius V — in Oratio in principio studiorum: Somnium Philomusi; it was composed in the form of a dialogue after the prologue: The adolescents and their parents amused themselves and were extraordinarily enthused by the theatre, when pupils applied their study, memory and action to a play.

In some cases they were staged on the days of St. Ignatius 31 July after he was canonised in Catherine of Alexandria, which the students celebrated with performances on her feast day 25 November , as had always been 68 Cf. But performances were more common two weeks later to commemorate the Conception of the Virgin 8 December. Ideological, Political and Religious Purposes of the Jesuit Theatre The playwrights used their dramas to advance their own interests and those of the institutions on which they depended.

Jesuit teachers soon opted to renovate the dramatic repertoire by adapting it to their morality, religiosity, educational principles and interests; their militant theatre was an ideological and theological instrument that proposed an ideal religious person thitherto absent from the ancient and modern theatre, which therefore needed specific plots and characters. The Jesuits sought to attract students from the most illustrious and powerful families. The audience especially appreciated the beauty, grace, lineage and young age of the children, who used to be about thirteen years old.

When appropriate, the main or most distinguished characters were assigned to the children of wealthy families, who could wear sumptuous costumes, giving lustre to the performance and credibility to the plot, since the actors assimilated their characters. Acevedus notes that many of the students who staged Bellum virtutum in were gentlemen, and in entitled a piece Actio quaedam per adolescentes ingenuos pronuntiata.

Several children of the nobility performed his comedy on the Prodigal Son perhaps Charopus at the inauguration of the college in Cadiz in Acevedus composed different pieces in Seville for the arrivals of a count, a bishop and the King. He obtained the approval of a bishop opposed to the theatre when his pupils acted in Latin the episodes in the Gospel on John the Baptist with his disciples and on Jesus with the Samaritan woman at Cordoba in In , he praised Francisco Hurtado de Mendoza — assistant to the council of Seville and a friend of the Society — in the dialogue In adventu comitis Montis Acutani; it includes an eclogue in Virgilian hexameters involving shepherds Mopsus, Hispalis, Castulus, Candidus and Rumusculus, along with six other characters.

He composed In adventu regis for the royal visit on 29 April , a drama named after the character Desiderius; it was intended to dramatise the triumph of Philip II at Las Alpujarras according to the recovered model of ancient staging, but it was not performed: A number of plays greeted 72 viceroys, bishops and ecclesiastical visitors in Peru and Mexico.

Martyrs provided episodes that suited a tragic treatment in the contemporary sense of the term; these new heroes who lost their lives defending their beliefs were models of virtue and piety worthy of emulation. At the premiere, the Archbishop, the town council, which had funded the new school building, nobility, Court officials, the tribunal of the Holy Office, members of the House of Trade and other dignitaries occupied preferential places.

Only the clergy and Roman characters spoke in Latin: Some of the 72 Cf. The text and its annotations and stories about the performance provide information on the dimensions of the stage, different entrances, stage machinery and placement of the audience, the musicians and the characters in the scene of the debate in Latin. Melchior a Cerda — wrote the Latin scenes in this tragedy and the speech to the rulers of Seville; in Vsus et exercitatio demonstrationis Seville , he exemplified oratorical theory precisely with texts in prose on the subject of this tragedy.

It had several repeat performances with cuts and adjustments in Seville, Madrid and other towns; but the plot had to be rewritten in another modern language or in 73 Latin when it was taken to other Jesuit colleges in France, Italy and Germany. The Martyrdom of St.

Acevedus dealt with the conflict of the converted Moors in his Comedy of Faith and her partners Hope and Love, and the dispute against the sects opposing her declaring them to be false and true the law of Christianity, acted in Granada in ; in Dialogus initio studiorum performed in Seville on 18 October ; and in by celebrating the defeat of the converted Moors in the Alpujarras.

This same contemporary plot was staged in Salamanca in the lost tragedy De 73 Cf. Other Religious Themes of School Drama School dramas on the Gospel stories of the rich man and Lazarus, the beggar Luke 16, 19—31 , and the Prodigal Son Luke 15, 11—32 were very successful because gluttons and young wasters were regular characters in the classical comedy Hor. Many Old Testament stories allowed various contemporary moral, doctrinal, political and social issues to be addressed. The viewer of the tragedy on Judith staged in Seville in , which concluded with a Triumphus, should be willing to offer his life for his people like she did.

The tragic end of kings Ahab and Jezebel 75 Cf. From the book of Tobias, a drama in five acts by Franciscus Gomes — , composed almost entirely in iambic trimeters and recited in Evora in , survives in a manuscript from Lisbon containing the tragedies composed by his teacher Venegas; it presents novelesque motifs and formally imitates Plautus, but is humourless and lacks choruses and tragic deaths.

Several biblical plots allowed for the dramatisation of the importance of works for salvation as opposed to Protestant tenets. Particularly in rustic settings, the main purpose of some performances was to encourage the recitation of the rosary of which Maldonatus disapproved, devotion to the Virgin and to the Blessed Sacrament and other religious practices advocated by the Council of Trent. The celebration of Corpus Christi remained associated with literary and musical performances to strengthen the dogma of transubstantiation: El Lazarillo de Tormes inspired the two protagonists of his Actio feriis solemnibus: The young students in Daroca Saragossa performed a comedy in Latin that had been mandated by the city for Corpus Christi in In addition to teachers and academic positions Magister, Paedagogus , characters related to the actors by age, activity or experience Studens, Scholasticus, Puer, Iuvenis were frequent; in contrast to model, pious and conscientious young people, there were idlers, rogues, lovers, fools, sycophants and knaves as examples to avoid.

Classic types from urban and rural settings were included to engage the audience, such as Mercator and Rusticus or Agricola, and other characters from real life with whom spectators could identify. Yet the abundance and widespread use of allegorical characters is characteristic of humanistic theatre. They constituted a development of the figure of the prosopopeia, which allowed a supernatural and transcendent dimension to be given to the dilemmas of the protagonists of dramas, and their psychology, motivations and inner feelings to be reflected on stage.

If the costumes and attributes were not enough to identify them, they could be presented in their first appearance: Bonifacius only presented twenty-nine allegorical characters compared with two hundred twenty-two real characters, and he limited himself to expanding Gospel parables without departing from the plot. The issue responded to the Ignatian concept of spiritual life as a war between the armies of Christ and Satan within the soul, and of man against the deadly sins.

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In his Dialogus feriis solemnibus Corporis Christi, the Four Cardinal Virtues Prudentia, Iustitia, Fortitudo and Temperantia converse among themselves and later respectively persuade a petulant fool, an arbitrary judge, a braggart and a glutton, who were unaware of their true condition and who repent their sins to follow virtue. The theatre was an excellent substitute for the less honest traditional banter that children were to be kept away from during Carnival before the required abstinence from meat and enjoyment during Lent.

He refused in the prologue to Metanoea to mix spiritual utility with the sweetness of jokes, but enlivened his works with the comic 79 Cf. There are abundant references to the gods, their attributes and specific places in Jesuit dramas: Gods were also common interlocutors in pastoral works of the seventeenth 82 century. When female characters appeared on stage in these pieces, the absence of actresses was made up for by masks, veils and appropriate clothing.

They are not rare in dramas by humanists and by the first Jesuits: Female characters and costumes were disappearing from the stage before the Society of Jesus recommended avoiding them in Several works by Acevedus allude to abstract female allegories in masculine terms referring to the actor, while Crucius even assigned a female gait to Vita. Maurizio Costanzo 1 , 2 , 3 , 4. Rita Dalla Chiesa 1 , 2.

Wilma De Angelis 1. Cristina Del Basso 1. Fabrizio Del Noce 1 , 2. Riccardo Di Stefano 1. Ficarra e Picone 1. Nino Frassica 1 , 2. Milo Infante 1 , 2. Giancarlo Magalli 1 , 2. Mara Maionchi 1 , 2. On 28 January he joined South korean giants Suwon Bluewings on loan. He is perhaps most famous for his roles in the telenovelas: After three years in the club, he moved to Bayer Leverkusen, where he reached the Champions League final against Real Madrid of Spain.

He scored a header in the final, which Real Madrid won with the score of 2—1. Since coach Louis van Gaal did not have a place for him at Bayern, he decided to search for a new team. He moved to Inter Milan in the summer of , and helped them win the Champions League against his former club Bayern Munich. At the age of 13, she joined her current club Osasco. The team currently plays on the first level of the Lithuanian football league pyramid.

The club's name has changed several times. Atlantas were Lithuanian champions in , , , and Atfer that some players run away from club. But after 28 rounds they was in 6th position and could play in final stage of the championship. He made his first team debut on 21 February, coming on as a second-half substitute in a 1—0 Campeonato Baiano home win against Colo Colo. Black Brazilian is a term used to categorise by race or color Brazilian citizens who are black. It was founded in Unlike many dance music stations, m2o does not play current and recent electronic music exclusively.

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After the Pan American Games, Valtinho moved to Vasco da Gama, to compete for the state championship in Rio de Janeiro, where he was defeated by his greatest team rival, Flamengo. His short spell at Gigante da Colina ended, when the point guard signed with the then Brazilian League champions, Genair Martins da Silva Junior born December 26, is a Brazilian mixed martial artist who competed in Bellator Fighting Championships' featherweight division.

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