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1. |
Record Nr. |
UNINA9910495756403321 |
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Autore |
Serena Gaëlle |
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Titolo |
D’encre et de sang : Les Jésuites en Angleterre (1580-1610) / Gaëlle Serena |
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Pubbl/distr/stampa |
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Tours, : Presses universitaires François-Rabelais, 2018 |
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ISBN |
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Descrizione fisica |
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1 online resource (396 p.) |
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Soggetti |
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Religion |
History |
jésuites |
propagande |
Angleterre |
diplomatie |
Clergé |
époque moderne |
répression politique |
missionnaires |
littérature clandestine |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Sommario/riassunto |
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Dès le début de la mission jésuite dans l'Angleterre d'Elizabeth Ire, lettres, autobiographies, pamphlets s'inscrivent dans un programme mis en place par la Compagnie de Jésus, visant tant à l'édification des catholiques anglais qu'au dénigrement du gouvernement de la reine auprès des peuples européens. À la fois outils de propagande et seuls moyens d'information possibles entre l'île et le continent, les écrits missionnaires permettent à leurs auteurs de donner corps à la communauté récusante clandestine, ainsi qu'à leur mission. Cette production n'est toutefois pas sans danger, les espions de la reine étant nombreux. Pour peu que ces textes tombent entre de mauvaises mains, les conséquences pour leurs auteurs et leurs proches peuvent |
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être dramatiques. C'est pourquoi les lettres sont chiffrées ou écrites à l'encre sympathique afin que le message ne se révèle qu'aux yeux de l'initié. Cette écriture secrète ne suffit pas toujours à protéger le texte. Pour autant, les jésuites ne cessent d'écrire, jusqu'au fond du cachot parfois où la plume et le papier leur sont pourtant interdits. Les graffitis ou les lettres griffonnées à la hâte avec le charbon d'une bougie attestent l'urgence qui préside à l'acte d'écriture, lequel semble dépasser la seule visée programmatique pour revêtir une dimension ontologique, permettant à l'auteur de dépasser le traumatisme de l'expérience immédiate et de renouer avec sa propre identité, mise à mal par l'exil, la prison ou la perspective de l'exécution. |
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2. |
Record Nr. |
UNINA9910792301303321 |
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Autore |
Coburn Veronica |
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Titolo |
Clown through mask [[electronic resource] ] : the pioneering work of Richard Pochinko as practised by Sue Morrison / / by Veronica Coburn and Sue Morrison |
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Pubbl/distr/stampa |
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Bristol ; ; Chicago, IL, : Intellect, c2013 |
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ISBN |
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Descrizione fisica |
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1 online resource (570 p.) |
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Altri autori (Persone) |
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Disciplina |
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Soggetti |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references. |
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Nota di contenuto |
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Front Cover; Half-title; Title; Copyright; Contents; Preface; INTRODUCTION; What Is A Clown?; How Does The Red Nose Work?; Modern Performance Clown: Clown Theatre; What Pochinko Clown Has To Offer The Art Form; BACKGROUND INFORMATION; Chapter 1: Richard Pochinko; Historical Photos; Chapter 2: Sue Morrison; PART ONE: The Basics of Pochinko Clown; Chapter 3: The First Day; Daughters Of Copperwoman: Clowns; Chapter 4: Preparatory Exercises; The First Exercise; Clown Games: Jacques Á Dit; Clown Games: Mr. Hit!; Sensory Exercises: Walk To The Wall; Sensory Exercises: Walk To The Energy Wall |
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Sensory Exercises: Run To The Energy Wall Synopsis; Chapter 5: First Foundation Exercise For Clown; First Foundation Exercise For Clown: Present Yourself; Synopsis; Chapter 6: First Foundation Exercise For Mask; First Foundation Exercise For Mask: Masterpiece/Creator; Synopsis; Chapter 7: Second Foundation Exercise For Clown; Second Foundation Exercise For Clown: Fantastic Spaces; Synopsis; Chapter 8: Second Foundation Exercise For Mask; Second Foundation Exercise For Mask: Exploration Of Colour; Ritual: The Entry, Commitment & Exploration; Experience: Independent Visualization; Public Shame |
Synopsis PART TWO: Building a Personal Mythology; Chapter 9: Making One North; Building A Personal Mythology; Making One North; Ritual; Workshop Photos; Public Shame; Synopsis; Workshop Photos; Chapter 10: Experience & Innocence; Saying Goodbye To Someone You Love; Return To Childhood; Synopsis; Chapter 11: Painting One North; Ritual; Public Shame; Synopsis; Chapter 12: Wearing One North; Experience; Ritual; Workshop Photos; Experience: The Mantel Of Myth; Workshop Photos; Public Shame; Workshop Photos; Innocence; Ritual; Experience; Public Shame; Mask as Tool |
Public Performance: The Red Nose Turn Synopsis; Chapter 13: Checking In; Chapter 14: The First Turn; The Turn Of One North: Survival; Daily Practice; Impulse Exercise; The First Turns; Workshop Photos; Synopsis; PART THREE: Masks Two to Six; Chapter 15: Making & Wearing Mask Two South; Mask Photos; Synopsis; Chapter 16: Making & Wearing Mask Three East - Time To Check In; Synopsis; Chapter 17: Making & Wearing Mask Four West; Mask Photos; Synopsis; Chapter 18: Making & Wearing Mask Five Below Below; Synopsis; Chapter 19: Making & Wearing Mask Six Above Above; PART FOUR: Performance |
Chapter 20: The Turn For Two South All Things To Do With Script; Example Two South; Synopsis; Chapter 21: The Turn For Three East; All Things To Do With Truth; A Truthful Body; Maintaining Truth; Synopsis; Chapter 22: The Turn For Four West; All Things To Do With Connection; Synopsis; Chapter 23: The Turn For Five Below Below; Momentum; Synopsis; Chapter 24: The Turn For Six Above Above; The Game; Synopsis; Chapter 25: The Soirée; PART FIVE: Joey & Auguste; Chapter 26: The Basics; Synopsis; Chapter 27: Performance Exercises; The First Performance Exercise - Working In Pairs |
First Words: The Introduction of Speech |
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Sommario/riassunto |
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Richard Pochinko (1946-89) played a pioneering role in North American clown theatre through the creation of an original pedagogy synthesizing modern European and indigenous Native American techniques. |
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