Anna Prucnal - Theatre

Theatre

  • 1971 : Small Mahagonny, Bertolt Brecht
  • 1971 : The Parisian life, Jacques Offenbach
  • 1972 : Seven deadly sins, Bertolt Brecht and Kurt Weill
  • 1972 : Gave Mobil, Claude Prey
  • 1973 : Rock bottom, Marc’ O
  • 1973 : The Four binoculars, Copi
  • 1974 : Ubu with the opera, Alfred Jarry
  • 1975 : A.A. theaters of Adamov, Roger Planchon
  • 1975 : Middle-class Madnesses, Roger Planchon
  • 1975 : The Man occis, Claude Prey
  • 1975 : Nights of Paris
  • 1976 : The French Grandmother, by Eugene Ionesco'
  • 1977 : Jacques or the tender and the future in the eggs, by Eugene Ionesco'
  • 1977 : Domestic industry, F.K. Kroetz, Jacques Lassalle
  • 1978 : Remagen, Anna Seghers, by Jacques Lassalle
  • 1978 : Kabaret, Jean Mailland
  • 1984 : The Beautiful Helene, Jacques Offenbach
  • 1984 : The human Voice, Jean Cocteau and Francis Poulenc
  • 1986 : Ghetto, Josual Sobol
  • 1987 : Connected, Eugene O’ Neill
  • 1988 : Awakes Philadelphia, François Billetdoux
  • 1990 : The Opera of quat’ under, Bertolt Brecht and Kurt Weill
  • 1991 : The Room, Wilhelm de Tove Ditlevsen
  • 1992 : Mr Brecht, according to Bertolt Brecht
  • 1993 : The human Voice, Jean Cocteau and Francis Poulenc
  • 1994 : The following days which sing false, Josual Sobol
  • 1996 : Gernika 1937, a lyric review, of Jean Mailland'
  • 1999 : The Circus of Giuseppe, Jean-Louis Bauer and Piotr Moss
  • 2000 : Song of the swan and other stories, Anton Tchekhov'
  • 2002 : The Foreigner of the city, Bernard Martin
  • 2003 : Red Evil and gold, Jean Cocteau
  • 2004 : Anna Prucnal and Jean Cocteau
  • 2005 : The Vagina Monologues, by Eve Ensler

Read more about this topic:  Anna Prucnal

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Famous quotes containing the word theatre:

    Mankind’s common instinct for reality ... has always held the world to be essentially a theatre for heroism. In heroism, we feel, life’s supreme mystery is hidden. We tolerate no one who has no capacity whatever for it in any direction. On the other hand, no matter what a man’s frailties otherwise may be, if he be willing to risk death, and still more if he suffer it heroically, in the service he has chosen, the fact consecrates him forever.
    William James (1842–1910)

    As in a theatre the eyes of men,
    After a well-graced actor leaves the stage,
    Are idly bent on him that enters next,
    Thinking his prattle to be tedious,
    Even so, or with much more contempt, men’s eyes
    Did scowl on gentle Richard.
    William Shakespeare (1564–1616)

    For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
    Sarah Bernhardt (1844–1923)