Baú de Rejeitos. Projetos do LADI-UnB que não foram viabilizados
DOI:
https://doi.org/10.26512/dramaturgias15.35758Parole chiave:
Laboratório de Dramaturgia, Revisões, ContinuidadeAbstract
Neste artigo, apresento um outro lado do Laboratório de Dramaturgia-UnB: o dos projetos e propostas que não saíram do papel. Na formação de um centro de pesquisas temos não apenas os resultados que foram efetivados, como também uma história de inquietações transformadas e revisadas.
Downloads
Riferimenti bibliografici
ADORNO,T.W. and EISLER,H. Composing for the Films. International Publishing Group, 2007.
BAECHLE,N. Metrical Constraint and the Interpretation of Style in the Tragic Trimeter. Lexington Books, 2007.
BALK,W. “The Craft of Creating Opera. Restoring a Lost Legacy through the Workshop Process” The Opera Quartely 1:2,p. 91-108.
BARKER, A. Greek Musical Writings. Vol. II: Harmonic and Acoustic Theory. Cambridge University Press,1989.
BARKER, A. Psicomusicologia nella Grecia Antica. A cura di Angelo Meriani. Università degli Studi di Salerno. Napoli,Quaderni del Dipartimento di Scienze dell’Antichità,2005.
BARKER, A. The Science of Harmonics in Classical Greece. Cambridge University Press, 2007.
BEESON, J. “Composers and Librettists” The Opera Quartely 6:2 p 1- 20. BERLIN, A. Lamentations. A Commentary. Westminster John Knox Press, 2002.
BIANCONI, L. and PESTELLI,G.(Eds.) Opera in Theory and Practice. University of Chicago Press, 2003.
BLASSINGHA,E. Perspectives: Creating and Producing Contemporary Opera and Musical Theater. Opera America, 1983.
BUDELMAN, F. The Language of Sophocles. Cambridge University Press, 1999. BUNDRICK,S. Music and Image in Classical Athens. Cambridge University
Press,2005.
BURTON, R.W.B. The Chorus in Sophocles’ Tragedies. Oxford University Press, 1980.
CAIRNS,D.,CITTI,V. E LIAPIS,V. Dionysalexandros: Essays on Aeschylus And His Fellow Tragedians in Honour of Alexander F. Garvie (Classical Press of Wales,2007).
CLAY, C. Vector Theory and the Plot Structures of Literature and Drama. Booksurge Publishing,2005.
COOK, N. Analysing Musical Multimedia. Oxford University Press, 2001.
DAVID,P. The Dance of the Muses: Choral Theory and Ancient Greek Poetics. Oxford
University Press,2006.
DEVINE, A.M. e STEPHENS, L. Discontinuous Syntax. Oxford University Press, 2000.
DEVINE, A.M. e STEPHENS, L. The Prosody of Greek Speech. Oxford University Press, 1994.
DIK, H. Word Order in Greek Tragic Dialogue. Oxford University Press, 2007.
DOUGHERTY, C. e Kurke, L.(Org.) The Cultures within Ancient Greek Culture Contact, Conflict, Collaboration. Cambridge University Press, 2003.
DUGDALE, E. Greek Theatre in Context. Cambridge University Press, 2008.
EISENSTEIN,S. Selected Works. Bloomington: Indiana University Press, 1988-1996.
FERRARI, G. (Ed.)La Musique et La Scene. L’écriture Musicale et Son Expression Scénique Au Xxe Sié€cle. L’Harmattan, 2007.
GARDINER, C.P. The Sophoclean Chorus: A Study of Charakter and Function. The University of Iowa Press, 1987. Hagel,S. e Harrauer.C Ancient Greek Music in Performance Wiener Studien n.30, 2005.
GEORGE, K. Rhythm in Drama. University of Pittsburgh Press,1980.
HEILE, B. “Recent Approaches to Experimental Music Theatre and Contemporary
Opera. Music& Letters 87,1,72-81,2006.
HENDERSON, J. Aristophanes. Loeb Classic Library, Harvard University Press,1998-2008.
HUTCHINSON, G. O. Greek Lyric Poetry: A Commentary on Selected Larger Pieces. Oxford University Press,2001.
KANTIZIOS,I. TheTrajectoryofArchaicGreekTrimeters. BrillAcademicPublications,2005. KERMAN, J. Opera as Drama. University of California Pres, 2003.
KOVACKS, D. Euripides. Loeb Classic Library, Harvard University Press, 1993-2003. LLOYD, M. (Org). Oxford Readings in Aeschylus.(Oxford University Press,2007.
LLOYD-JONES, H. e WILSON, N.G.(Ed.) Sophoclis Fabulae. Loeb Classical Library, Harvard University Press,1990.
MACINTOSH, F., Michelakis,P.Hall,E. e Taplin,O. Agamemnon in Performance:458 BC to 2004 AD .Oxford University Press, 2005.
MALHOMME, F. E WERSINGER, A. G. (eds.) Mousiké€ et Areté€. La mousique et l’éthi- que de l’antiquité à l’á‚ge moderne. Actes du colloque international tenu en Sorbonne les 15-17 décembre 2003. Paris: Librairie Philosophique J. Vrin,2007.
MCDONALD, M. AND WALTON, J.M. (Eds). The Cambridge Companion to Greek and Roman Theatre, Cambridge Press,2007.
McMILLIN,S. The Musical as Drama, Princeton University Press, 2006.
MOTA, M. A dramaturgia musical de Ésquilo: Investigações sobre Composição, Realização e Recepção de Ficções Audiovisuais. Brasília: Editora da Universidade de Brasília, 2008.
NAGY, G. Comparative Studies in Greek and Indic Meter.Replica Books, 2001.
PICKARD-CAMBRIDGE, A.W. The Dramatic Festivals of Athens Clarendon Press, 1968)
PICKARD-CAMBRIDGE. A. W. The Theatre of Dionysus at Athens. Clarendon Press, 1946.
SCOTT, W.C. Musical Design in Aeschylean Theater. Darmouth College, 1984.
SOMMERSTEIN, A.(Ed. e Trad) Aeschylus. Loeb Classical Library, Harvard University Press, 2008.(3 Volumes).
SPRINCHORN,E. and GOLDMAN, A. Wagner On Music and Drama. Da Capo, 1988. WAGNER, R. Opera and Drama. University of Nebraska Press, 1995.
WEISS,P. Opera: A History in Documents. Oxford University Press, 2002. WILKINS,M. L Creative Music Composition. Routledge, 2006.
WILLET, J. (Trans.) Brecht on Theatre. A&C Black,2003.
WILSON, P. (Org.) The Greek Theatre and Festivals. Documentary Studies. Oxford
Studies in Ancient Documents. Oxford: Oxford University Press, 2007.
##submission.downloads##
Pubblicato
Come citare
Fascicolo
Sezione
Licenza
Copyright (c) 2020 Marcus Mota
Questo lavoro è fornito con la licenza Creative Commons Attribuzione - Condividi allo stesso modo 4.0.
Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.
