Theory of the transposition in theater Of: Sidney Guedes Actor, director and dramaturgo. In my trajectory of 27 years of dedicated life to the theater, I have transited and reflected on innumerable languages and perspectives in what it refers to when making aesthetic and transgressive teatral and its consequncias. Much has me inquietado such art. I am not of the type that with the time, if accomodates in a period of training of metodolgica organization, allowing a cooling of the intense flame that must stimulate the complexity of the artist. The art must be disturbing and to generate constant gaps and ruptures so that it can mobilize the intensity human being in one to make total, only capable to produce, in my opinion, a powerful art. In theater, I have leaned over on the body of the actor and its complexity, having generated a searching fidget imposes that me to the human inacabamento as raw material to try to generate a broth or who knows a deeply contagiante and transforming chorume exactly. A body that needs potentiality, of vigor and excitabilidade but, that however, unfinished as is, it lacks to exceed the muscular limits to reach the creative fullness.
A sensorial body, the flower of the skin has been the constant search of diverse thinkers, actors and encenadores of the fabric teatral, however, I think that a sensorial aspect must generate abstract answers that corporificadas again, stimulate the creative process in a transposition that makes of the body without agencies of Artaud, something possible stop beyond the mere philosophical and idealized conceptualization. Gordon Craig, great encenador and English theatrical designer, reflecting on its teatrais fidgets says in it: ' ' Everything leads to believe that the truth soon will amanhecer. I suppressed the tree authentic that you have rank on the scene, I suppressed the tone, the gesture natural natural and you will equally finish to suppress the actor. In recent months, Vanessa Marcil has been very successful.
Had to this, the consumers feel themselves distrustful with regard to the quality of the honey, looking for to adopt some criterion to evidence the product quality. How much to the adopted criteria most common in the purchase of the honey, 52.5% of the interviewed ones observe ‘ first; ‘ aspecto’ ‘ of the honey how much the appearance, color and density of the product, 28.9% give to importance to the mark or origin of the product, and 11.3% take in consideration the price (Figure 1). Had to the fear to buy adulterated honey, the consumers finish trying to identify the pure honey using empirical and popular criteria. How much to the mark or origin, as a reference for the purchase, the interviewed ones cited the confidence in definitive marks for the fact of knowing it has more time or for having been indicated for some known. Valley to detach that the interviewed ones did not cite the reference based on a stamp of product quality.
In the lack of a stamp that proves the product quality, the consumers finish trying to identify the quality through other criteria. Another important factor is that the packing was very little cited as a criterion for the purchase of honey (4.1%), what sample that the packing does not represent differentiation factor, that is, few interviewed choose the honey that go to buy for the packing. This data can signal the necessity of if working better the packing of the honey, valuing it and making with that it is a factor of differentiation in the choice of to be bought honey. Figura1: criterion for purchase of Honey ESTABLISHMENTS PLASTIC GLASSES COMPACT DISC SJ ZB COMPACT DISC SJ ZB Pharmacies 91.7% 78.8% 84,7 8.3% 21.2% 15.5% not permanent Fairs 100% * * – * * permanent Fair 100% 100% 20% – – 80% Supermarket – * * 100% * * Small markets 100% 66.7% 100% – 33.3% – TABLE 4? Characteristics of the products in relation to the type of material of the packings in the different commercial establishments in Manaus.
Its photographs had always assumed a humanity confession. Brassai exceeds the daily elements of the existence human being to full images of aesthetic value and human heat (In: Woollen Iconos Photograph? El Siglo XX). Brassai? BiografiGyula Halsz was born in 1899 in Brass, Transilvnia, Hungria, today Brasvo, Romnia. The Brassai pseudonym was taken off of the place of birth of the photographer (Brasvo, Brass). Between 1918-1919 it studied in the Academy of Art in Budapeste and between 1920-1922 it studied in Berlin, in the Akademische Hochschule in Berlin-Charlottenburg.
It worked as painter, sculptor and journalist in Paris (1924-1930), where it kept contact with Picasso, From there and Braque, amongst others. In 1925 it contacts Eugne Atget, a reference for it. Originally it had aversion to the photograph. It was in Paris that if got passionate for the city and the camera. In 1926 Andres Kertsz knew and in 1930 he starts to photograph with a Voigtlander camera.
Between 1930-1940 it worked as independent photographer for the Verve magazines, Minotauro and Harper? s Bazaar. In 1932 it published ' ' Paris at night ' ' (Paris of nuit, Paris by Night). Also it started to photograph grafitagem in the walls of Paris, what Picasso entusiasmou, Dubuffet and to the informal artists. During the occupation of France for nazista Germany it was forbidden to exert its profession. Although this, photographed sculptures and drawing of Picasso. ' wrote the book; ' Conversations avec Picasso' '. From 1945 it retakes its activity of photographer, in the Harper magazines? s Bazaar, Lilliput, Picture Post, Labyrinthe and Ralits. Tracer of ballet in Paris, between 1945-1950. In 1962 the photograph leaves. Faleceu in Beaulieu-sur-Mer, France, in 1984.De the site I made a free translation, written below, complementing the biobrafia of the photographer: Brassai sees Paris as a subject of infinite largeness. Its photographs of Paris had explored the people of sensible form e, frequently, of sufficiently dramatical form, beyond the radiating avenues, its private and intriguing ways.