Roque Centurión Miranda
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Roque Centurión Miranda
Roque Centurión Miranda (August 15, 1900, in Carapeguá – January 31, 1960, in Asunción) was a Paraguayan playwright, theater director and stage, radio and film actor. Enriched by a creative and enthusiastic group of young actors and playwrights including Luis Ruffinelli, Miguel Pecci Saavedra, Francisco Martín Barrios, Facundo Recalde, Benigno Villa and Arturo Alsina, Centurión Miranda is remembered as one of the true creators of the Paraguayan theatre. He began working as an actor. In 1926 he wrote his first play, ''Cupido sudando'', a comedy in three acts, earning him critical acclaim after it was performed. Later, in 1932, in collaboration with Josefina Pla, he wrote ''Episodios chaqueños''. His 1933 Guaraní language, Guaraní-language drama ''Tuyú'' in three acts, which dealt with young Chaco blood spilled by Paraguayan soldiers, was a major success and is considered by critics to be the cornerstone of the Guaraní theatre. His first steps Centurión Miranda’s pa ...
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Roque Centurión Miranda, Los Sports, 1924-11-07 (87)
Roque ( ) is an American variant of croquet played on a hard, smooth surface. Popular in the first quarter of the 20th century and billed "the Game of the Century" by its enthusiasts, it was an Roque at the 1904 Summer Olympics, Olympic sport in the 1904 Summer Games, replacing croquet at the 1900 Summer Olympics, croquet from the previous games. Roque court and equipment Roque is played on a hard sand or clay 30 by 60 foot (length), foot (approximately 9 by 19 m) court bordered by a boundary wall, a curb bevelled at the ends to form an octagon. Players use this wall to balls similarly to how billiard balls are played off the cushions of a billiard table. The wickets, called arches, are permanently anchored in the court. The arches are narrow as in professional six-wicket croquet. The court has ten arches in seven points configured in a double diamond (or figure-8). The two farthest end points and the central point of the figure-8 are double arches (one after the oth ...
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