-
1 Cinema
Portuguese cinema had its debut in June 1896 at the Royal Coliseum, Lisbon, only six months after the pioneering French cinema-makers, the brothers Lumiere, introduced the earliest motion pictures to Paris audiences. Cinema pioneers in Portugal included photographer Manuel Maria da Costa Veiga and an early enthusiast, Aurelio da Paz dos Reis. The first movie theater opened in Lisbon in 1904, and most popular were early silent shorts, including documentaries and scenes of King Carlos I swimming at Cascais beach. Beginning with the Invicta Film company in 1912 and its efforts to produce films, Portuguese cinema-makers sought technical assistance in Paris. In 1918, French film technicians from Pathé Studios of Paris came to Portugal to produce cinema. The Portuguese writer of children's books, Virginia de Castro e Almeida, hired French film and legal personnel in the 1920s under the banner of "Fortuna Film" and produced several silent films based on her compositions.In the 1930s, Portuguese cinema underwent an important advance with the work of Portuguese director-producers, including AntônioLopes Ribeiro, Manoel de Oliveira, Leitao de Barros, and Artur Duarte. They were strongly influenced by contemporary French, German, and Russian cinema, and they recruited their cinema actors from the Portuguese Theater, especially from the popular Theater of Review ( teatro de revista) of Lisbon. They included comedy radio and review stars such as Vasco Santana, Antônio Silva, Maria Matos, and Ribeirinho. As the Estado Novo regime appreciated the important potential role of film as a mode of propaganda, greater government controls and regulation followed. The first Portuguese sound film, A Severa (1928), based on a Julio Dantas book, was directed by Leitão de Barros.The next period of Portuguese cinema, the 1930s, 1940s, and much of the 1950s, has been labeled, Comédia a portuguesa, or Portuguese Comedy, as it was dominated by comedic actors from Lisbon's Theatre of Review and by such classic comedies as 1933's A Cancáo de Lisboa and similar genre such as O Pai Tirano, O Pátio das Cantigas, and A Costa do Castelo. The Portuguese film industry was extremely small and financially constrained and, until after 1970, only several films were made each year. A new era followed, the so-called "New Cinema," or Novo Cinema (ca. 1963-74), when the dictatorship collapsed. Directors of this era, influenced by France's New Wave cinema movement, were led by Fernando Lopes, Paulo Rocha, and others.After the 1974-75 Revolution, filmmakers, encouraged by new political and social freedoms, explored new themes: realism, legend, politics, and ethnography and, in the 1980s, other themes, including docufiction. Even after political liberty arrived, leaders of the cinema industry confronted familiar challenges of filmmakers everywhere: finding funds for production and audiences to purchase tickets. As the new Portugal gained more prosperity, garnered more capital, and took advantage of membership in the burgeoning European Union, Portuguese cinema benefited. Some American producers, directors, and actors, such as John Malkovich, grew enamored of residence and work in Portugal. Malkovich starred in Manoel de Oliveira's film, O Convento (The Convent), shot in Portugal, and this film gained international acclaim, if not universal critical approval. While most films viewed in the country continued to be foreign imports, especially from France, the United States, and Great Britain, recent domestic film production is larger than ever before in Portugal's cinema history: in 2005, 13 Portuguese feature films were released. One of them was coproduced with Spain, Midsummer Dream, an animated feature. That year's most acclaimed film was O Crime de Padre Amaro, based on the Eça de Queirós' novel, a film that earned a record box office return. In 2006, some 22 feature films were released. With more films made in Portugal than ever before, Portugal's cinema had entered a new era. -
2 Music
Portugal's musical tradition began in the 15th century when songs ( cantigas) written by court troubadours were set to music. Early in the 16th century the cathedral in Coimbra became a center for the composition of polyphonic music and produced several composers of note. Portugal's musical tradition was carried throughout the Portuguese overseas empire. The playwright Gil Vicente used incidental music in his religious plays, some of which could be described as protomusicals. Until the 17th century, musical training was controlled by the Catholic Church, and the clergy dominated the field of composition. During this 18th century, Portuguese mon-archs lavished money and attention on music teachers and composers, which gave Portugal the best and liveliest court music anywhere in Europe. During the period, the Italian Domenico Scarlatti was court choirmaster, which infused Portuguese church music and opera with the Neapolitan style. A Portuguese, João de Sousa Carvalho, was one of the most popular composers of opera and musical drama in Europe during the second half of the 18th century.Perhaps the best-known Portuguese composer is João Domingos Bomtempo. Bomtempo wrote music in the classical style and, as head of the National Academy of Music, assured that the classical style remained integral to Portuguese music until well into the Romantic era. Gradually, Romantic music from Europe was accepted, having been introduced by Alfredo Keil, a Portuguese painter, musician, and opera composer of German descent. Portugal's only Romantic composer of note, Keil wrote the music for A Portuguesa, the official Portuguese national anthem since 1911.The most widely known musical form of Portugal is the fado. Meaning fate, fado is singing that expresses a melancholic longing intermingled with sadness, regret, and resignation. There are at least two variations of fado: the Lisbon fado and the Coimbra or university student fado. Its origins are hotly debated. The most famous Portuguese fado singer was Amália Rodrigues (1920-99); presently, Mariza holds that claim. -
3 Santos, José Manuel Cerqueira Afonso
(1929-1987)Balladeer, singer, poet, musician, composer, and teacher. Known to the public simply as "Zeca" or "José Afonso," he was a student poet, singer, and musician in the 1950s, and premier interpreter of Coimbra fado, creator of a new school of fado music, and leader of a reform movement in popular music. Using his distinctive musical compositions, appealing baritone singing voice, and iconoclastic lyrics of resistance to tyranny, Afonso Santos employed his poetic and musical gifts as instruments of resistance and opposition to the enduring Estado Novo. Two recorded songs became early shots in this war: Balada de Outono (Autumn's Ballad) and Menino d'Oiro (Golden Boy). With diverse, subversive meanings usually disguised in allegory, his lyrics and style eschewed the traditional Coimbra fado's fare of broad sentiment and unrequited love. Instead, Afonso presented new ballads with contemporary resonance. In the mid-1960s, when so many Portuguese youth were drafted and mobilized for Portugal's colonial wars in Africa, he lived and taught school in Mozambique, where he organized opposition to the regime. Later in that colony, he was arrested by the PIDE.After his return to Portugal, Afonso's reputation as a rebel ballad-eer grew; among his most celebrated recorded ballads were Cantigas de Maio (Songs of May, 1971) and Venham Mais Cinco (Five More Came, 1973). His famous revolutionary, rallying song, Grândola, Vila Morena, banned by the Estado Novo before 1974, became the single most famous piece of Portuguese revolutionary music in the second half of the 20th century. Grândola featured Afonso's voice and lyrics and expressed a clearly leftist ideology and resistance to tyranny, to the background sounds of marching feet growing louder. Selected by the coup planners of the Armed Forces Movement as a signal for action, a secret password sign to be played over Lisbon radio at about midnight on 24/25 April 1974, this remarkable song acquired new fame and a place in history as both an actual signal for rebel military operations to begin and an enduring revolutionary rallying cry. After the Revolution of 25 April 1974, Grândola became the most potent symbol of the move to topple the Estado Novo and open the way for profound change, as well as a musical icon, equaled only by the iconographic red carnation. The first stanza of Afonso's lyrics, translated from the Portuguese, is: Grândola, dark-brown town, Homeland of Brotherhood The people have more power within you, oh city....Historical dictionary of Portugal > Santos, José Manuel Cerqueira Afonso
См. также в других словарях:
Cantigas de Santa María — Saltar a navegación, búsqueda Miniatura de las Cantigas de Santa María. Las Cantigas o Cántigas de Santa María (mediados del siglo XIII 1284) constituyen el cancionero religioso medieval de la literatura en galaico portugués, frente al profano … Wikipedia Español
Cantigas De Santa Maria — Enluminure du Cantigas représentant des joueurs de flûte de Pan. Le manuscrit du Cantigas de Santa Maria est un des plus importants recueils de chansons monophoniques de la littérature médievale en Occident, rédigé pendant le règne du roi de… … Wikipédia en Français
Cantigas de Santa Maria — Enluminure du Cantigas représentant des joueurs de flûte de Pan. Le manuscrit du Cantigas de Santa Maria est un des plus importants recueils de chansons monophoniques de la littérature médievale en Occident, rédigé pendant le règne du roi de… … Wikipédia en Français
Cantigas de santa maria — Enluminure du Cantigas représentant des joueurs de flûte de Pan. Le manuscrit du Cantigas de Santa Maria est un des plus importants recueils de chansons monophoniques de la littérature médievale en Occident, rédigé pendant le règne du roi de… … Wikipédia en Français
Cántigas da Terra — Saltar a navegación, búsqueda Cántigas da Terra es un coro, formado en La Coruña el 28 de diciembre de 1916. Contenido 1 Historia 2 Repertorio 3 Galardones y reconocimientos … Wikipedia Español
Cantigas de Santa Maria — The Cantigas de Santa Maria ( Songs to the Virgin Mary ) are manuscripts written in Galician Portuguese, with music notation, during the reign of Alfonso X El Sabio (1221 1284) and are one of the largest collections of monophonic (solo) songs… … Wikipedia
Cantigas de Santa Maria — Lautenist. Illustration aus den Cantigas de Santa Maria Die Cantigas de Santa Maria (etwa: Lieder für die heilige Maria, abgekürzt: CSM) sind eine der größten Sammlungen von Liedern des Mittelalters. Sie sind in Galicisch Portugiesisch, einer der … Deutsch Wikipedia
Cantigas de Santa María — Enluminure du Cantigas représentant des joueurs de flûte de Pan. Le manuscrit des Cantigas de Santa María est un des plus importants recueils de chansons monophoniques de la littérature médievale en Occident, rédigé pendant le règne du roi de… … Wikipédia en Français
Cantigas de Amigo — The Cantigas de Amigo (or “songs to a friend”) are Galician Portuguese lyrics written between the 12th and 14th centuries. In this kind of lyric, a female persona sings to or about her lover. Generally the subject is the suffering the woman… … Encyclopedia of medieval literature
Cantigas d'amigo — Cantiga de amigo cantiga d amigo in Schreibweise der mittelalterlichen Manuskripte bedeutet wörtlich Freundeslied und ist eine volkstümliche alt Galicisch Portugiesische Liedform. Die meisten Texte sind vor dem Jahre 1300 geschrieben und stammen… … Deutsch Wikipedia
Cantigas de amigo — Cantiga de amigo cantiga d amigo in Schreibweise der mittelalterlichen Manuskripte bedeutet wörtlich Freundeslied und ist eine volkstümliche alt Galicisch Portugiesische Liedform. Die meisten Texte sind vor dem Jahre 1300 geschrieben und stammen… … Deutsch Wikipedia
