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El teatro clown en el entorno sanitario The clown in health environment  [cached]
Alexia Camu?as Palacín
Index de Enfermería , 2009,
Abstract: La presencia de los clown en los Hospitales es descrita por los pacientes, familiares e incluso profesionales como positiva. Sin embargo, se limita a visitas periódicas en Hospitales infantiles cuando los efectos del humor son positivos también para los pacientes adultos y el resto de estamentos comentados de un Hospital General. Para explicarnos sus beneficios hemos realizado una entrevista al Dr José Ignacio Ricarte Díez que es médico de familia, actor de teatro y clown. También nos explicará los talleres de clown que imparte a estudiantes y profesionales de la salud. The presence of clowns in Hospitals is described as positive by patients, relatives and even professionals. Nevertheless, it limits itself to infantile visits in Hospitals when the effects of humor are also positive for adult patients. To explain its benefits we have interviewed the Dr Jose Ignacio Ricarte Díez who is a general practicioner, theatre actor and clown. He will also explain his clown workshop for students and health professionals.
堕落的轨迹:从审丑的文学到丑的文学——中国当代文学批评的一种视角  [PDF]
潘道正?
天府新论 , 2010,
Abstract: 审丑是中国当代文学重要的特征之一,并显出明晰的脉络。但是,在不同阶段表现丑与恶的方式是不同的。新时期伊始是以丑衬美,依然是审美的文学;到上世纪80年代中后期是以美衬丑,是为审丑的文学,并逐渐走向了嗜丑;到了新世纪则是以丑为美,是为丑的文学。由审丑的文学到丑的文学无疑从一个侧面显示了当代文学日渐萎靡的趋势。
El teatro clown en el entorno sanitario
Camu?as Palacín,Alexia;
Index de Enfermería , 2009, DOI: 10.4321/S1132-12962009000100014
Abstract: the presence of clowns in hospitals is described as positive by patients, relatives and even professionals. nevertheless, it limits itself to infantile visits in hospitals when the effects of humor are also positive for adult patients. to explain its benefits we have interviewed the dr jose ignacio ricarte díez who is a general practicioner, theatre actor and clown. he will also explain his clown workshop for students and health professionals.
论古代观音戏的演出形态  [PDF]
周秋良
湖南工业大学学报(社会科学版) , 2010,
Abstract: 在古代,观音戏的演出非常频繁,其演出形态包括脚色行当与人物造型、登场程式与舞台布景、音乐与宾白等,随着时代、地域文化的不断变化而变化。从总体上而言,观音戏的不同演出习俗反映了民间观音信仰的世俗化倾向。
四狗追戏问题的其他解法  [PDF]
朱晨
力学与实践 , 2000, DOI: 10.6052/1000-0992-f2000-058
Abstract: 本文通过直角坐标法及极坐标法求解四狗追戏问题.
Clown: a Microprocessor Simulator for Operating System Studies  [PDF]
Dmitry Zinoviev
Computer Science , 2012,
Abstract: In this paper, I present the design and implementation of Clown--a simulator of a microprocessor-based computer system specifically optimized for teaching operating system courses at undergraduate or graduate levels. The package includes the simulator itself, as well as a collection of basic I/O devices, an assembler, a linker, and a disk formatter. The simulator architecturally resembles mainstream microprocessors from the Intel 80386 family, but is much easier to learn and program. The simulator is fast enough to be used as an emulator--in the direct user interaction mode.
宋代“戏作”词的体类及其嬗变  [PDF]
李静
北京大学学报(哲学社会科学版) , 2014,
Abstract: 作为宋词的一个独特品类,“戏作”词与俳谐词有交集,但不可混为一谈,二者在雅俗、有无讽刺意味等方面有所区分;至若以带有自谦或尝试意味为特征的“戏作”词则与俳谐词并无关涉。宋代的“戏作”词有戏人、自戏和戏物等三种类型,戏人词以调笑为基底,展示朋辈友情;自戏词通常是某种情愫如叹老嗟卑、感时抚事等的一种感发;戏物词的主要作者为辛弃疾。“戏作”词从北宋中期出现以后以迄南宋后期,在词调的取用等方面由简趋繁,表现功能上亦由浅转深,从初期的多止于娱乐,到后期的娱乐、社交、抒情言志等多种功能叠加。
Singularization, Formation, Ecosophy, Biopotency: to reinvent oneself between the clown and the other  [cached]
Kátia Maria Kasper
Educa??o : Teoria e Prática , 2008,
Abstract: This work presents some aspects of singular and singularized experiences of formation, lived and narrated told by an actor as clown, and establishes connections with other voices, marked by invention of ways of life (DELEUZE, 1965). In the trajectory ofconstruction of the clown “Xuxu”, at the same time, the paper of invention in the construction of subjectivity and the paper of others as an opening to possible worlds are evidenced. (DELEUZE, 1974).
辰州傩戏音乐形态的张力  [PDF]
舒达
湖南工业大学学报(社会科学版) , 2010,
Abstract: 辰州傩戏(又称土家傩堂戏)现存于湖南湘西土家族地区,是一种介于湘西古老的原始戏剧(以毛古斯为代表)与现代戏曲之间的原始戏剧形态,是戏剧进化时期遗存下来的"活化石"。傩戏形式有傩堂正戏、大戏和小戏之分,音乐曲调古朴,地方特色浓厚,富于原始性张力、世俗性张力,及神秘性张力。
Los caminos del clown: resistencia en movimiento. Juego, carnaval y frontera Clown's Way: resistance in movement. Play, Carnival and Frontier
Carlos Diz Reboredo
Athenea Digital , 2011,
Abstract: Through the clown's way we will look around the play logic in culture, or the culture seeing as a play itself. From an ethnographical and experimental approach to the clown and circus's world we will use this text to understand the different forms of resistance that are emerging in the postmodern era from the most intimate spheres, from the common that we all share. Clown's way will bring us from the big top to the street, from the private familiar side to the public and communal experience, and we will analyze the tactics of play, seeing as relational, communicational and learning forms. Behind the mask and the make-up lies the cultural production and social building of new subjects who are incorporated by the new social movements, who are turning circus and carnival into new playful territories of experience, claims and freedom. A través de los caminos del clown recorreremos la lógica del juego en la cultura, o de la cultura entendida en tanto juego. En base a una aproximación etnográfica y experimental al mundo del circo y del clown, usaremos este texto para comprender las formas de resistencia que, dentro de la posmodernidad, surgen de lo más íntimo, de lo común que compartimos. Los caminos del clown nos llevarán de la carpa a la calle, de lo familiar privado a lo comunal público, analizando las prácticas del juego que definen al payaso como formas de relación, comunicación y aprendizaje. Tras la máscara o el maquillaje, yace la producción de nuevos sujetos, una re-subjetivización que incorporan a sus proclamas los nuevos movimientos sociales, quienes convierten al circo o al carnaval en nuevos territorios lúdicos de experiencia, proclamas y libertad.
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