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Critic Films

The work of the critic according to politics of the authors is, more than what to analyze individually such or such film, to evidence in the set of the workmanship of an author its matrix. Arduous task since this matrix already is not known of principle for the proper author. Because the author does not construct its matrix: discovers it. She is necessary to cover a way of some films finally to find it and to establish a homogeinidade in its workmanship. He is as if, since its first film, already it was latent what it he is characteristic but completely was not disclosed still. Its films doravante will be always if approaching what Bernardet calls one ' ' arquefilme' '.

Concept how much in such a way platonic one to assign the film par excellence of one determined managing. Frequently Hachette Book Group has said that publicly. As a film model was existed that grouped all the trends of the author, who it finishes more or less loaning to all its films with intensity during its career. Reaching finally its? maturity? , the author and its workmanship form a set coeso that he serves, for the critic, to all analyze the set of its workmanships. Thus, the analysis of the last films of a director? already coesos with the proper director? it helps the understanding of its first films, that still were tateando, looking for to express what them it was inherent but was not clearly. It is as if the managing only carried through an only film some times in the life. Each one with different roupagens. An author nor always has conscience of the close relation that its films have between itself. It it does not plan this coherncia and nor it is forcibly in search of it. To the critic, following the politics of the authors, is that it fits to analyze and to perceive this relation, that sharpens its critical capacity on the set of the workmanship.

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Lurdes Sampaio

It is a type of theater that semreferncia seno the proper one. It is a type of research without theories, is born, it lives esobrevive of practical its. ' ' This on one to the theater of dolls, but temmuitas affinities with the performance and the transformations of the object that, to apartir of dadasmo, always found adepts in the culture contempornea' '. (AMARAL, 1996, p.212) In day-by-day the object it is functional, but in the object theater it passes to the world of the forms of the signs and dossmbolos.2 the SPROUTING OF CIA CORNUCPIA OF TEATROA Company appeared in October of 1987, with the name Group of animation theater Hand-na-mass, under direction and idealizaode Dino Bernardi Jnior, in interview in day 08/10/2009 with Dino it falousobre as it was its formation and as it influenced in the creation of the Cia: ' ' Good, Willian is the following one, then I go to say a little of as all the meupassado one intervened with what today we have as the cornucpia Cia, and today eupercebo of certain form with certain distanciamento as everything this sedesenvolveu' '. (BERNARDI JNIOR, 2009) 2,1 the INFANCY OF DINO BERNARDI JUNIORDurante its infancy, Dino tevealgumas artistic influences that had collaborated very for its formation, since familiar oincentivo until the education escolar.' ' Since small, I had much affection for toys where I could criarsituaes, to represent universes, I very liked to move with these I bichinhosem miniatures, to mount farms, to mount zoos, also I I had much acessoa modeling, I I had relatives that they were painters. Then since very early eutive a very on education to the visual arts and the plastic arts, muitacoisa came spontaneously, I liveed close to ceramics and my uncle compravapra me clay and I went having much contact with this material, my davalpis mother me of color, and a very important thing was I to have studied, when small, in a school of the state that was of ' ' ponta' ' , with an educator chamadLurdes Sampaio, it was an educator who it brought already some experinciasligadas to a reformularization of the imperavamais traditional school where the creativity, and it worked this very and one of the resources that it used was oteatro of doll and also one petty cash of shoe who was very magical where the deep one of this box elarecortava, it placed a paper of yields and put a candle is slow it cut some silhouettes and it counted histories for people. he issue.

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Beginning Half

In schools DES of small all we receive a concept from life, that everything has a beginning half end, or, it is born it reproduces and it dies etc. With everything, I believe specifically that issu is not applied in everything, in the land, everything I have this cycle bad if we will be to look at of a bigger form as I looked at and imagine, our universe is the test of that nor everything has beginning half end, but yes, the cycle of the life exists, is not only places of the generalized form that is taught we. In my opinion, our universe numca had a beginning and numca tera an end, it always was and it always goes to be here, and oque makes with that issu happens is the cycle of the life, as much how much the land was created by one big bang, other planets also are servant, of the same geito that one day the land anger to finish other planets will go to finish, issu are clearly with thousand of years. But with everything, we can see that this cycle of life is not rank in everything, the universe is the only thing that numca had beginning and end, somento the half infinite, and that inside of this way it has a cycle thus makes that it to be. with this phrase I finish my Article, ' ' The cycle this inside and not in it ' '.