PULP FICTION – ADAPTATION – PLAY
Godspell is about love, about pursuing justice, about accepting the rules of the game without giving in to what hurts us. And, above all, about remembering, if we have forgotten it, that life is a path that we need to walk hand in hand with others.
Tolerance and respect for those who are different, the need to build and weave community support networks, compassion for any human being, sustainable and shared wealth, the freedom to be and choose, co-responsibility in the construction of a good life for all, the right to make mistakes and start over, to grieve with the suffering of others, to live whole, to laugh, to love, to sing, to play…to live, until we die.
It highlights their maturity in front of the rest of the group. The characters of John the Baptist and Judas are combined in a single actor embodying the polarities and ambivalences of the human being. The follower versus the traitor.
Confident, boastful, with the urge to squeeze the most out of life. Fun but not frivolous in essence. Her strength and energy will be a revulsive for the rest of the group, offering herself to the experiences even before understanding them.
«pedro berruguete, tomás de torquemada y el teatro de la
Mari Carmen Díaz de Mendoza nació en Madrid a finales de 1927. Sus padres, Carlos Díaz de Mendoza y Carmen Larrabeiti, ambos actores, se habían casado el año anterior. Sus abuelos paternos también tuvieron mucho éxito en el mundo del teatro[1]. Aunque Mari Carmen hizo una o dos apariciones en el cine, su carrera como actriz se centró en el teatro.
Durante los años siguientes actuó en «Tres de madrugada» de Claudio de la Torre (1946), «Cuento de cuentos» de Joaquín Dicenta (el más joven) (1947) y, tras crear su propia compañía teatral, en «Víspera de bodas» de Eduardo Manzanos (1948), en la que también actuaban Milagros Leal y Salvador Soler Marí.
Formó parte de la producción de En la ardiente oscuridad, de Antonio Buero Vallejo, que se estrenó triunfalmente en diciembre de 1950 en el Teatro María Guerrero. Hubo otros éxitos a principios de los cincuenta en el teatro que aún llevaba el nombre de su abuela, como «María Antonieta» (1952) y «El jefe» (1953), de Joaquín Calvo Sotelo [es],[5] «Berkeley Square» (1952), de John L. Balderston, y «Recién llegada» (1953), de Keith Winter[6].
María Bernaldo de Quirós 22 05 24 Esp Descubrir
The former chief reporter of «The Wall Street Journal», under whose guidance the newspaper won 9 Pulitzers, and now co-founder of the website ProPublica, the first digital media to win the prestigious journalistic award, defends the important role that journalism plays in society with his reporting.
From 1991 to 2007, he was the chief information officer of the prestigious «The Wall Street Journal», and during that time his newsroom won 16 Pulitzers. With this track record, he had nothing left to prove. But after retiring, he decided to found ProPublica in 2008, a non-profit news agency specializing in investigative reporting with which he has already won two Pulitzers. This week he has been in Madrid participating in the fourth edition of » Conversations with…. «, a meeting organized by the Faculty of Communication of the University of Navarra and the Rafael del Pino Foundation .
Both. In the case of big media, it is a business, but they are fulfilling a social service with their reports. Our job as journalists is to unveil situations that should be known and changed. This was what was done in the golden age of journalism, at the beginning of the 20th century, with the beginning of the control of power by newspapers; and also in the 60s and 70s, when thanks to the reports on the struggle for civil rights of African-Americans, laws were passed or the Vietnam War was shortened.
