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21 Theater, Portuguese
There are two types of theater in Portugal: classical or "serious" theater and light theater, or the Theater of Review, largely the Revistas de Lisboa (Lisbon Reviews). Modern theater, mostly but not exclusively centered in Lisbon, experienced an unfortunate impact from official censorship during the Estado Novo (1926-74). Following laws passed in 1927, the government decreed that, as a cultural activity, any theatrical presentations that were judged "offensive in law, in morality and in decent customs" were prohibited. One consequence that derived from the risk of prohibition was that directors and playwrights began to practice self-censorship. This discouraged liberal and experimental theatrical work, weakened commercial investment in theater, and made employment in much theater a risky business, with indifferent public support.Despite these political obstacles and the usual risks and difficulties of producing live theater in competition first with emerging cinema and then with television (which began in any case only after 1957), some good theatrical work flourished. Two of the century's greatest repertory actresses, Amélia Rey-Colaço (1898-1990) and Maria Matos (1890-1962), put together talented acting companies and performed well-received classical theater. Two periods witnessed a brief diminution of censorship: following World War II (1945-47) and during Prime Minister Marcello Caetano's government (1968-74). Although Portuguese playwrights also produced comedies and dramas, some of the best productions reached the stage under the authorship of foreign playwrights: Shakespeare, George Bernard Shaw, Arthur Miller, and others.A major new phase of Portuguese serious theater began in the 1960s, with the staging of challenging plays by playwrights José Cardoso Pires, Luis Sttau Monteiro, and Bernardo Santareno. Since the Revolution of 25 April 1974, more funds for experimental theater have become available, and government censorship ceased. As in so much of Western European theater, however, the general public tended to favor not plays with serious content but techno-hits that featured foreign imports, including musicals, or homegrown musicals on familiar themes. Nevertheless, after 1974, the theater scene was enlivened, not only in Lisbon, but also in Oporto, Coimbra, and other cities.The Theater of Review, or light theater, was introduced to Portugal in the 19th century and was based largely on French models. Adapted to the Portuguese scene, the Lisbon reviews featured pageantry, costume, comic skits, music (including the ever popular fado), dance, and slapstick humor and satire. Despite censorship, its heyday occurred actually during the Estado Novo, before 1968. Of all the performing arts, the Lisbon reviews enjoyed the greatest freedom from official political censorship. Certain periods featured more limited censorship, as cited earlier (1945-47 and 1968-74). The main venue of the Theater of Review was located in central Lisbon's Parque Mayer, an amusement park that featured four review theaters: Maria Vitória, Variedades, Capitólio, and ABC.Many actors and stage designers, as well as some musicians, served their apprenticeship in the Lisbon reviews before they moved into film and television. Noted fado singers, the fadistas, and composers plied their trade in Parque Mayer and built popular followings. The subjects of the reviews, often with provocative titles, varied greatly and followed contemporary social, economic, and even political fashion and trends, but audiences especially liked satire directed against convention and custom. If political satire was not passed by the censor in the press or on television, sometimes the Lisbon reviews, by the use of indirection and allegory, could get by with subtle critiques of some personalities in politics and society. A humorous stereotyping of customs of "the people," usually conceived of as Lisbon street people or naive "country bumpkins," was also popular. To a much greater degree than in classical, serious theater, the Lisbon review audiences steadily supported this form of public presentation. But the zenith of this form of theater had been passed by the late 1960s as audiences dwindled, production expenses rose, and film and television offered competition.The hopes that governance under Prime Minister Marcello Caetano would bring a new season of freedom of expression in the light theater or serious theater were dashed by 1970-71, as censorship again bore down. With revolution in the offing, change was in the air, and could be observed in a change of review show title. A Lisbon review show title on the eve of the Revolution of 25 April 1974, was altered from: 'To See, to Hear... and Be Quiet" to the suggestive, "To See, to Hear... and to Talk." The review theater experienced several difficult years after 1980, and virtually ceased to exist in Parque Mayer. In the late 1990s, nevertheless, this traditional form of entertainment underwent a gradual revival. Audiences again began to troop to renovated theater space in the amusement park to enjoy once again new lively and humorous reviews, cast for a new century and applied to Portugal today. -
22 cup
1. noun1) (a usually round hollow container to hold liquid for drinking, often with a handle: a teacup; a cup of tea.) chávena2) (an ornamental vessel, usually of silver or other metal, given as a prize in sports events etc: They won the Football League Cup.) taça2. verb1) (to form (one's hands) into the shape of a cup: He cupped his hands round his mouth and called.) juntar2) (to hold (something) in one's cupped hands: He cupped the egg in his hands.) segurar•- cupful- cupboard
- cup final
- cup-tie
- one's cup of tea* * *[k∧p] n 1 xícara, chávena. 2 xicarada: o que cabe numa xícara. 3 xícara com seu conteúdo. 4 copo, cálice (também de flor), taça. 5 copa, taça (prêmio esportivo). 6 Med ventosa. 7 bebida. 8 cálice usado na comunhão. 9 vinho usado na comunhão. 10 fado, destino. 11 buraco no jogo de golfe. • vt 1 dar forma de cálice ou xícara a. 2 tomar ou colocar em xícara. 3 aplicar ventosas a. a bitter cup fig uma taça da amargura, um sofrimento amargo. challenge cup Sport taça. claret cup ponche de vinho tinto. cup and saucer xícara e pires. cup of tea a) xícara de chá. b) especialidade, gosto. playing cards is not my cup of tea / não gosto muito de jogar cartas. half a cup of milk meia xícara de leite. he is fond of the cup ele bebe. he is in his cups ele está bêbado. parting cup trago de despedida. -
23 destiny
['destəni]plural - destinies; noun(the power which appears or is thought to control events; fate: We are all subject to the tricks played by destiny.) destino* * *des.ti.ny[d'estini] n destino, fado, sorte. the Destinies Myth as três Parcas: Cloto, Láquesis e Átropos. -
24 die
I present participle - dying; verb1) (to lose life; to stop living and become dead: Those flowers are dying; She died of old age.) morrer2) (to fade; to disappear: The daylight was dying fast.) apagar-se3) (to have a strong desire (for something or to do something): I'm dying for a drink; I'm dying to see her.) estar mortinho por•- diehard- die away
- die down
- die hard
- die off
- die out II noun(a stamp or punch for making raised designs on money, paper etc.) moldeIII see dice* * *die1[dai] n (pl dice, dies) 1 dado. 2 azar, sorte, fado, destino. 3 jogo de dados, Archit pl dies soco, cubo. 4 Tech cunho, molde, estampa, matriz, cassonete, fieira, qualquer ferramenta ou aparelho para cunhar, talhar, estampar ou moldar. • vt imprimir, cunhar, estampar. straight as a die honestíssimo. the die is cast a sorte está lançada.————————die2[dai] vi 1 morrer (from, of), expirar, falecer, extinguir-se. 2 perder a força ou a vitalidade, definhar, consumir-se, apagar-se, findar. 3 acabar, interromper-se, parar. 4 desvanecer, desaparecer. 5 desmaiar(-se), esmorecer, desfalecer. 6 secar, murchar (falando de flores). to be dying to do desejar ardentemente fazer algo. to die a fair ( a natural) death morrer de morte natural. to die a general morrer como general. to die away a) definhar, evaporar-se. b) desmaiar. to die by the sword morrer à espada. to die down diminuir, aquietar-se. to die for a) languir, almejar. b) sacrificar-se por, morrer por. to die for love morrer de amor. to die hard demorar para morrer, lutar contra a morte. to die in one’s bed ter morte natural. to die off languir, morrer em massa. to die out extinguir-se, findar, cessar, apagar-se. -
25 fate
[feit]1) ((sometimes with capital) the supposed power that controls events: Who knows what fate has in store (= waiting for us in the future)?) destino2) (a destiny or doom, eg death: A terrible fate awaited her.) destino•- fatalism- fatalist
- fatalistic
- fated
- fateful* * *[feit] n 1 fado, destino, sorte. it has often been his fate to lose / ele muitas vezes tinha a má sorte de perder. his fate was sealed / seu destino estava decidido. 2 morte, destruição. • vt fadar, destinar, condenar. the Fates as Parcas (deusas gregas que tinham poder de controlar e decidir tudo). -
26 fated
-
27 fateful
adjective (involving important decisions, results etc: At last the fateful day arrived.) fatal* * *fate.ful[f'eitful] adj fatal: 1 determinado pelo fado. 2 decisivo. 3 fatídico, profético, sinistro, funesto. -
28 foredoom
fore.doom[fɔ:d'u:m] n destino, fado. • vt condenar de antemão, predestinar, fadar. -
29 fortune
['fo: ən]1) (whatever happens by chance or (good or bad) luck: whatever fortune may bring.) sorte2) (a large amount of money: That ring must be worth a fortune!) fortuna•- fortunately
- fortune-teller
- tell someone's fortune
- tell fortune* * *for.tune[f'ɔ:tʃən] n 1 fortuna, boa sorte, ventura, dita, prosperidade, sucesso imprevisto. 2 sina, sorte, fado, destino. 3 casualidade, eventualidade, felicidade, acidente, acaso. 4 riqueza, opulência, haveres, propriedades, dote. 5 importância de uma fortuna. 6 estado, ou condição de uma pessoa. a small fortune coll bastante dinheiro. by good fortune felizmente. fortune favoured favorecido pela sorte. good fortune felicidade, boa sorte. he came into a fortune ele herdou uma fortuna. he made a fortune ele adquiriu uma fortuna. he made his fortune ele fez fortuna. ill fortune infelicidade, má sorte. to cost a fortune custar os olhos da cara. to marry a fortune casar com moça rica. to seek one’s fortune buscar ventura. to tell someone his fortune ler a sorte a alguém. to try one’s fortune tentar a sorte. -
30 future
['fju: ə] 1. noun1) ((what is going to happen in) the time to come: He was afraid of what the future might bring; ( also adjective) his future wife.) futuro2) ((a verb in) the future tense.) futuro2. adjective((of a tense of a verb) indicating an action which will take place at a later time.) futuro* * *fu.ture[fj'u:tʃə] n futuro: a) porvir. b) destino, fado, perspectivas, esperanças. c) Gram a tempo futuro. • adj futuro (também Gram), vindouro. for/ in the future futuramente, no ou para o futuro. in the near future dentro em breve, brevemente. -
31 predestination
pre.des.ti.na.tion[pri:destin'eiʃən] n 1 predestinação. 2 fado, destino. -
32 destiny
destino, fortuna, fado, sorte -
33 fate
sorte, noiva(o), fado, morte, destino -
34 Antunes, Antônio Lobo
(1942-)Noted Portuguese novelist and writer, chronicler of his people's various responses to the colonial African wars (1961-75) and to the Revolution of Carnations 1974-75. Born in Lisbon, the son of a physician, Lobo Antunes was trained as a doctor as well and became a practicing psychiatrist. During the so-called "African Wars," when Portugal under the Estado Novo fought to retain its African colonies, Lobo Antunes served four years in the Portuguese Army in Angola. One of the literary results of that formative experience was his noted novel, South of Nowhere, published first in Portugal and then published and acclaimed in an English translation in 1983. Among his other novels also translated into English and published by major trade houses in the Anglophone world are An Explanation of the Birds (1991), Fado Alexandrino (1990), and Act of the Damned (1993). -
35 Dance
The history of Portuguese dance includes traditional, regional folk dances, modern dance, and ballet. Portuguese folk dances have historic origins in the country's varied regions and are based on traditions associated with the historic provinces. At least by the 18th century, these folk dances, performed in traditional garb, were popular and became differentiated by region. In the south of the country, there were colorful, passionate lively dances by rural folk in the Algarve, the corridinho; and in the Ribatejo, the fandango, the dance most celebrated and known outside Portugal. In northern Portugal, even more folk dances were developed and preserved in each historic province. In Trás-os-Montes, there were the chulas and dancas do pauliteros, in which dancers used sticks and stick play. Each region had its own special folk dances and costumes, with typical jewelry on display, and with some dances reflecting regional courting and matrimonial traditions. Perhaps richest of all the provinces as the home of folk dance has been the Minho province in the northwest, with dances such as the viras, gotas, malháo, perim, and tirana. For the most part, folk dances in Portugal are slower than those in neighboring Spain.Various factors have favored the preservation of some of these dances including local, regional, and national dance organizations that, for recreation, continue this activity in Portugal, as well as abroad in resident Portuguese communities in Europe, the Americas, and Africa. As a part of entertainment for visitors and tourists alike, performances of folk dances with colorful costumes and lively movements have continued to interest onlookers from abroad. Such performances, usually accompanied by singing traditional folk songs, can occur in a variety of settings including restaurants, fado houses, and arenas. Such dances, too, are performed in traditional, commemorative parades on the Tenth of June from Lisbon and Oporto to Newark, New Jersey, Toronto, and France.In modern dance activities, Portugal has made a diversified contribution, and in recent decades ballet has received intense attention and commitment as a performing art. An outstanding example has been the professional company and its performances of the notable Ballet Gulbenkian, established and financed by the Gulbenkian Foundation in Lisbon. Founded in 1964, Ballet Gulbenkian became an outstanding ballet company, featuring both Portuguese and international ballet dancers and directors. For decades, Ballet Gulbenkian made a distinguished contribution to the performing arts in Portugal. In 2005, unexpectedly and controversially, by fiat of the Foundation's administration, the Ballet Gulbenkian was closed down. The extinction of this ballet company provoked strong national and international protest among fans of ballet, and amounting as it did to a crisis in one division of the performing arts in a country that had expected unstinting financial support from the Foundation established from the financial legacy of notable collector, philanthropist, and financier Calouste Gulben- kian, a resident of Portugal from 1942 to 1955. -
36 Madredeus
Portuguese musical performing group of instrumentalists and singers, in a new pop music tradition, with a growing global reputation. It was formed by musicians in the late 1980s, who practiced in the Lisbon church and convent of Madre de Deus, also the site of a museum of Portuguese tiles. MadreDeus was formed by Pedro Ayres de Magalhães, contrabass. The group soon added acoustic guitars, cello, and accordion. A fado singer, the young Teresa Salgueiro, joined the instrumentalists later. In the 1990s, the group achieved international fame and celebrity in the music world with many successful concerts, records, and CDs. In 1995, music of MadreDeus was featured in a new film, Lisbon Story, directed by filmmaker Wim Wenders of Germany, thus opening a new phase of celebrity for the group. That same year, MadreDeus added a new instrumentalist, a bass, as the group performed in Brazil and the United States. -
37 Mondego river
The only major river in Portugal with its sources entirely inside Portugal. The Mondego River rises in the Estrela mountain range, flows through Coimbra and into the Atlantic Ocean north of the Tagus River. Associated with the romantic songs (including fado) and poetry of Coimbra University students in tradition, the Mondego is a picturesque sight as it flows to the sea through Beira Alta and Beira Baixa districts. The Mondego is about 280 kilometers (130 miles) long. -
38 Saudade
A feeling or sentiment said to be typically Portuguese, which is a kind of nostalgia, yearning, and melancholy longing. Although the word is almost untranslatable, one standard dictionary defined saudade as a sweet and soft remembrance of persons and things far away or long ago. A very common term in colloquial Portuguese, it expresses a sad feeling for an absent person or loved one. Philologists debate the word's precise origins. Some suggest that it derives from the Latin solitate, while Aubrey Bell suggests that saudade derives from the Arabic word saudaui, or someone who is stricken with melancholy and a longing to be alone. -
39 Sebastianism
Popular creed or belief, a messianism, after the loss of King Sebastião I in Morocco in 1578, that Portugal would be saved and made great again by a returning hero who would appear on a misty morning. Until the early 19th century, various personalities who were imposters posed as a returning Sebastian and sought to be recognized as conquering heroes. Forms of Sebastianist belief have captured the imagination in northeast Brazil as well. According to some historians, Sebastianism was not limited to the 16th century or to presumed royalty, but could find a popular following that could attach to recent political figures in the 19th and 20th centuries as well. There is a vast literature about Sebastianism and its history. One of Portugal's most distinguished historians, Dr. José Hermano Saraiva, suggests that even today a Sebastiani st feeling exists in a common tendency of persons who believe that what one wants cannot happen, but at the same time hope that it will happen and will happen independently of those persons' efforts. Such a state of mind is related to the common mood of Lisbon fado, as well as to the notion of saudade.
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См. также в других словарях:
fado — fado … Dictionnaire des rimes
Fado — Saltar a navegación, búsqueda Fado Orígenes musicales: Folclor portugués Orígenes culturales: Siglo XIX, Lisboa, Portugal Instrumentos comunes: Voz, Guitarra … Wikipedia Español
Fado — Origines stylistiques Musique portugaise Origines culturelles Portugal Instrument(s) typique(s) Guitare portugaise … Wikipédia en Français
fado — [ fado ] n. m. • 1907; mot port. « destin », lat. fatum ♦ Chant portugais sur des poésies populaires sentimentales et dramatiques. ● fado nom masculin (portugais fado, du latin fatum, destin) Chanson populaire portugaise, accompagnée à la guitare … Encyclopédie Universelle
fado — FADÓ, fadouri, s.n. Nume dat unui gen de cântece populare portugheze. [acc. şi: fádo] – Din port., fr. fado. Trimis de LauraGellner, 03.05.2008. Sursa: DEX 98 fadó [pron. fr.]/fádo [pron. sp … Dicționar Român
FADO — False and Authentic Documents OnlineA computerised image archiving system to help combat illegal immigration and organised crime ACT [http://eur lex.europa.eu/LexUriServ/LexUriServ.do?uri=OJ:L:1998:333:0004:0007:EN:PDF Council Joint Action… … Wikipedia
fado — fãdo dkt. Fãdo daininiñkė … Bendrinės lietuvių kalbos žodyno antraštynas
fado — popular music style of Portugal, 1902, from L. fatum fate, destiny (see FATE (Cf. fate)). Because the songs tell the fates of their subjects … Etymology dictionary
fado — s. m. 1. Destino; sorte; fortuna. 2. Música, dança e canto populares portugueses. 3. Vida de alcouce. 4. [Portugal: Trás os Montes] Pândega, pouca vergonha. • fados s. m. pl. 5. Providência; fatalidade. 6. Fim de vida … Dicionário da Língua Portuguesa
fado — sustantivo masculino 1. Canción popular portuguesa de carácter melancólico … Diccionario Salamanca de la Lengua Española
fado — (Del lat. fatum). m. Canción popular portuguesa, especialmente lisboeta, de carácter triste y fatalista … Diccionario de la lengua española
