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Le prsent rapport constitue une rponse concrte au Plan de(tm)action international de Madrid sur le vieillissement (PAIMV) 2002 dont une des recommandations est que le(tm)ont reconnaisse davantage et que le(tm)on amliore le(tm)apport positif des ans durant les situations de(tm)urgence et les efforts de reconstruction. En collaboration avec le(tm)agence de la sant publique du Canada et Help the Aged (Royaume-Uni), le(tm)OMS a command en 2006-2007 des tudes de cas pour savoir comment les personnes ges agissaient lors de(tm)urgences lies des conflits et de(tm)origine naturelle qui ont clat tant dans des pays dvelopps que(tm)en dveloppement, en le(tm)occurrence: une guerre, une scheresse, une vague de chaleur, des inondations, des ouragans, des tremblements de terre, un tsunami, une tempte de verglas, des feux de vgtation et une explosion dans une centrale nuclaire. Ce rapport ajoute une mine de(tm)expriences dans le but de(tm)clairer les dcideurs politiques sur le comment les ans se(tm)en sont tirs lors de(tm)urgences lies des conflits et catastrophes de(tm)origine naturelle.

This scholarly and detailed work attempts to create an understanding of the process of directing by intensive study of four important productions. Jones shows how the notes Stanislavsky made on The Seagull before beginning rehearsal shaped his 1898 production into a seminal example of realism. He describes the detailed workbook Brecht prepared from three different stagings of Mother Courage and Her Children from 1948 to 1951. Elia Kazan's 1947 A Streetcar Named Desire is studied as a commercial production that retained artistic integrity. Peter Brook's Marat/Sade exemplifies experimental theat.

Stanislavsky’s system of actor-training has revolutionised modern theatre practice, and he is widely recognised to be one of the great cultural innovators of the twentieth century. The Routledge Companion to Stanislavsky is an essential book for students and scholars alike, providing the first overview of the field for the 21st century. An important feature of this book is the balance between Stanislavsky’s theory and practice, as international contributors present scholarly and artistic interpretations of his work. With chapters including academic essays and personal narratives, the Companion is divided into four clear parts, exploring Stanislavsky on stage, as an acting teacher, as a theorist and finally as a theatre practitioner. Bringing together a dazzling selection of original scholarship, notable contributions include Anatoly Smeliansky on Stanislavsky’s letters; William D. Gunn on staging ideology at the Moscow Art Theatre; Sharon Marie Carnicke and David Rosen on opera; Rosemary Malague on the feminist perspective of new translations; W.B. Worthen on cognitive science; Julia Listengarten on the avant-garde; David Krasner on the System in America; and Dennis Beck on Stanislavsky’s legacy in non-realistic theatre.