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OLn., SU, 4°, 472 S., mit zahlreichen farb. und s/w Abb., guter Zustand

160 Seiten; TD-PEC9-XIMS Sprache: Deutsch Gewicht in Gramm: 500

Excerpt from Feste des Lebens und der Kunst: Eine Betrachtung des Theaters als Hochstein KultursymbolsZeit, in unsrer Freude uber das, was einzelne Künste an Neuem schon ge schaffen haben, im Vertrauen auf das, was besseres noch zu schaffen ist, und an'regend für uns zu höheren Zielen, wollen wir nun ein Haus errichten, das der gesamten Kunst eine heilige Stätte sein so, ein Sinnbild unsres Übe'r.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Unread book in perfect condition.

Soziale und theatralische Konventionen als Problem der Dramenübersetzung von Erika Fischer-Lichte (Herausgeber), Fritz Paul (Herausgeber), Brigitte Schultze (Herausgeber), Horst Turk (Herausgeber) In deutscher Sprache. 179 pages.

460 S. : Ill., Noten ; 21 cm Das Buch befindet sich in einem gut erhaltenen Zustand. Namensvermerk des Vorbesitzers im Vorsatz. Sprache: Deutsch Gewicht in Gramm: 635

Sprache: Deutsch Gewicht in Gramm: 1269 0,0 x 0,0 x 0,0 cm, Broschiert gb

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

With a flair for composition and precise perception, young German photographer Simone Nieweg turns a seemingly unspectacular subject--allotment gardens and neighboring fields--into a means of landscape representation. Lush, impossibly green, and intricately, categorically detailed, Nieweg's images give new life to the endless field of landscape photography.

Der Tod Und Das Madchen: Oper in Sechs Szenen St. Gallen Theater Choir - CD 7613248314063

In Staging Creolization, Emily Sahakian examines seven plays by Ina Césaire, Maryse Condé, Gerty Dambury, and Simone Schwarz-Bart that premiered in the French Caribbean or in France in the 1980s and 1990s and soon thereafter traveled to the United States. Sahakian argues that these late-twentieth-century plays by French Caribbean women writers dramatize and enact creolization―the process of cultural transformation through mixing and conflict that occurred in the context of the legacies of slavery and colonialism.Sahakian here theorizes creolization as a performance-based process, dramatized by French Caribbean women’s plays and enacted through their international production and reception histories. The author contends that the syncretism of the plays is not a static, fixed creole aesthetics but rather a dynamic process of creolization in motion, informed by history and based in the African-derived principle that performance is a space of creativity and transformation that connects past, present, and future.

Master Class is a pyrotechnical theater—fireworks in a contained space where Maria Callas is brought back to life in Sturm und Drang. Inspired by a series of master classes the great diva conducted at Juilliard toward the end of her career, this drama puts Maria Callas at center stage again as she coaxes, prods, and inspires students—"victims" as she calls them—into giving the performances of their lives while revealing her own. As she slips off into memories, we experience her days at La Scala, her marriage to Meneghini, and her great doomed love for Aristotle Onassis. But the dazzling theatricality comes from Callas's emotional explosions, her cutting wit, and the soaring music as each student sings an aria that exposes the Divina's vulnerabilities ... and her genius.

Neuware - Jeder Mensch ist ein Theatertier - so ließe sich Nikolaj Evreinovs dreibändiges, zwischen 1914 und 1917 verfasstes Werk zusammenfassen. Evreinov plädiert für mehr Theatralität (teatral'nost') im Theater und im Leben, wobei er Theatralität nicht für etwas Künstliches hält, sondern für die natürlichste Sache der Welt: für einen menschlichen Instinkt. Die hier vorliegende deutsche Erstübersetzung soll nicht nur den in Vergessenheit geratenen Regisseur, Dramatiker und Theoretiker, der zu den wichtigsten Innovatoren der russischen Theateravantgarde zählte, wieder in Erinnerung bringen, sondern auch seine Überlegungen zur Theatralität für die heutige Diskussion erschließen.

Master Class is a pyrotechnical theater—fireworks in a contained space where Maria Callas is brought back to life in Sturm und Drang. Inspired by a series of master classes the great diva conducted at Juilliard toward the end of her career, this drama puts Maria Callas at center stage again as she coaxes, prods, and inspires students—"victims" as she calls them—into giving the performances of their lives while revealing her own. As she slips off into memories, we experience her days at La Scala, her marriage to Meneghini, and her great doomed love for Aristotle Onassis. But the dazzling theatricality comes from Callas's emotional explosions, her cutting wit, and the soaring music as each student sings an aria that exposes the Divina's vulnerabilities ... and her genius.

An original and beautifully written book on changing perspectives in the art of theater. Through a study of nine plays―Oedipus Rex, Bérénice, Tristan und Isolde, Hamlet, Ghosts, The Cherry Orchard, Six Characters in Search of an Author, Noah, Murder in the Cathedral―the author shows how all playwrights seek to "hold the mirror up to nature" and how in this respect the art of drama is always the same, varying only with the philosophical and aesthetic concepts of each age. The Idea of a Theater will delight both readers with a special interest in drama and those who read drama as a source of insight into man's nature and man’s changing ideas of himself.Originally published in 1949.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Neuware - 'Türkische' bzw. 'orientalische' Sujets gehörten im europäischen Theater des 17. und 18. Jahrhunderts zu den besonders häufig aufgegriffenen Themen. Was dieses 'Türkische' für das Theaterpublikum jener Zeit unmittelbar zur Anschauung brachte, waren die auf der Bühne getragenen Kostüme. Mit dem vorliegenden Band wird erstmals eine systematische Annäherung an das 'türkische' Bühnenkostüm unternommen. Anhand umfangreichen Bildmaterials aus mehr als zwei Jahrhunderten werden Kontinuitäten und Entwicklungen der Kostümierungspraxis nachgezeichnet, der die tatsächlich im Osmanischen Reich getragene Kleidung zwar stets als Orientierung diente, die aber doch hauptsächlich von Prozessen der Stereotypisierung und der Imagination bestimmt war.

The Rothaug Brothers worked mainly in decorative paintings, especially for the theater and the opera, with a predilection for Classical mythology and German legends. This volume presents works from the private Pesl Collection and includes numerous biographic documents from both brothers, facilitating deeper understanding of Art Nouveau around 1900 and demonstrating new aspects of art that extend well into the 1950s. German text.

In the 1920s and 1930s jazz from the United States took Europeby storm, conquering the ballrooms and dance halls, bars andcafés, music halls and movie theaters. The new music was thefirst popular phenomenon—it was pop before pop existed—and enthralled the bohemian world and affluent middle classas much as it did adolescents and intellectuals. With worksby major artists such as Otto Dix, Max Beckmann, MarleneDumas, Piet Mondrian, Jackson Pollock, Romare Bearden,Andy Warhol, K.R.H. Sonderborg, Verena Loewensberg, A.R.Penck, and Jean-Michel Basquiat, I Got Rhythm: Art and Jazzsince 1920 demonstrates how jazz provoked a remarkableresponse from the art scene throughout the twentieth century.This book unites diverse artistic explorations of jazz, startingwith paintings of the classic modern period, continuing withworks of European and American postwar abstraction, andculminating in contemporary installations and video pieces.

For about thirty years in the middle of the twentieth century, Samuel Beckett and Bertolt Brecht dominated Western theater by virtue of their difference. Beckett represented a theater of the absurd and Brecht a theater of political commitment, each defining the other by their incompatibilities. Only their successors began to question the dichotomies and to draw on both their legacies. This volume looks back at the common ground of these two dramatists: their modernism and its legacy, their innovations in new media, the ways they directed their own work, and the shape of their thinking and writing. This territory is explored from the various perspectives of directors, dramaturgs, actors, and theorists in these contributions from a 2001 symposium at the University of Dublin.Distributed for the International Brecht SocietyIn English and German