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Thematische Bibliographien / Theater of Apollo Erethimios / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Theater of Apollo Erethimios“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Levy, James Anders. "Apollo Theater Oral History Project and the Apollo Theater Oral History Project at C.S. 154 , Harlem Apollo Theater and Columbia University Center for Oral History Center, 2008–present." Oral History Review 41, no. 1 (2014): 134–36. http://dx.doi.org/10.1093/ohr/ohu015.

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2

Gersht, Rivka. "Fragmentary Statue from Caesarea Maritima." Scripta Classica Israelica 7 (June 11, 2020): 53–57. https://doi.org/10.71043/sci.v7i.4697.

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Three possible identifications — Aphrodite, Hermes, Apollo — are considered for the fragmentary statue showing two feet poised on a tortoise, which was pulled out of sea northward of the theater of Caesarea Maritima. Written sources and archaeological finds indicate that images of Aphrodite, Hermes, and Apollo accompanied by a tortoise were known since the Archaic period, but only Aphrodite and Apollo were shown standing with two feet upon a tortoise.

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3

Gamel, Mary-Kay. ""Apollo Knows I Have No Children": Motherhood, Scholarship, Theater." Arethusa 34, no. 2 (2001): 153–71. http://dx.doi.org/10.1353/are.2001.0011.

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4

Wong, Carmin. "Such litany of survival did not begin with me & Benediction, after April 4<sup>th</sup>." JCSCORE 11, no. 1 (2025): 41–43. https://doi.org/10.15763/issn.2642-2387.2025.11.1.41-43.

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Carmin Wong is Guyanese-born playwright, poet-organizer, and dual-title doctoral student in English & Lit•orature and African American and Diaspora Studies at Pennsylvania State University. She is a proud graduate of Howard University and holds an MFA in poetry writing from the University of New Orleans. Carmin is the 2024-2025 Shirley Graham Du Bois Creative-in-Residence with Castle of Our Skins and the 2025 Teaching Artist with Girls Write Now NYC. As a performer, Carmin has brought her poetry to renowned stages, including Lincoln Center, The Apollo Theater, and The Nuyorican Poets Café.

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5

Solomon, Jon. "Apollo in Early Opera: Adapting His Multiple Ancient Cultic Functions to a Secular Renaissance Pantheon." Greek and Roman Musical Studies 13, no. 1 (2025): 193–215. https://doi.org/10.1163/22129758-bja10093.

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Abstract Apollo’s ancient origins resulted in a variety of cultic functions and mythological associations. As the Greco-Roman god of music, it was as if Apollo played a symbolic role in overseeing the development of late-Renaissance/early Baroque musical theater. His multiple cultic functions and associated mythological narratives enabled librettists to portray him on stage as not just the god of music and father of Orpheus, but also as the lover of Daphne, the slayer of the Python, the god of prophecy, the sun god, or a symbol of Neoplatonic Virtue or Christ. Not restricted to ancient narrati

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6

Griffin, Farah Jasmine. "Following Geri's Lead." Daedalus 148, no. 2 (2019): 13–22. http://dx.doi.org/10.1162/daed_a_01739.

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Drawn from a keynote delivered for Timeless Portraits and Dreams: A Festival in Honor of Geri Allen (Harvard University, February 16–17, 2018), this personal essay shares observations about Allen's intellectual and artistic leadership in diverse roles including bandleader, teacher, curator, and artistic visionary. In addition to discussions of Allen's music and recordings, this essay also focuses on her collaboration with the author and actor/director S. Epatha Merkerson, which resulted in two musical theater projects, Great Jazz Women of the Apollo (2013) and A Conversation with Mary Lou (201

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7

Foulkes, Julia L. "Review: Ain't Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment." Public Historian 33, no. 3 (2011): 157–59. http://dx.doi.org/10.1525/tph.2011.33.3.157.

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8

Bishop, Rose. "« Tout le spectacle en une photo ». Gordon Anderson et la fabrique des stars à l’Apollo Theater de Harlem." Transbordeur 7 (2023): 74–85. http://dx.doi.org/10.4000/12gxl.

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Ce texte est le premier article portant sur l’œuvre de Gordon « Doc » Anderson, photographe autodidacte et entrepreneur présent au célèbre Apollo Theater de Harlem entre 1949 et 1976. Bien qu’il soit à l’origine du corpus documentaire le plus volumineux du théâtre, il n’était ni employé par l’Apollo ni journaliste. Il gagnait sa vie en vendant directement aux artistes en résidence, pour quelques dollars, des photomontages immortalisant leur passage. Ses compositions « maison », quelque part entre le cliché d’amateur et l’image médiatique, s’inspirent du traitement réservé à la représentation d

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9

Bascom, Lionel C. "Ain’t Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment ed. by Richard Carlin and Kinshasha Holman Conwill." African American Review 45, no. 3 (2012): 490–91. http://dx.doi.org/10.1353/afa.2012.0056.

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10

Jaime, Karen. "“It Ain't Easy Being Green”: Race and Time in Stormé DeLarverie's Butch Swagger and Presence." QED: A Journal in GLBTQ Worldmaking 10, no. 3 (2023): 256–77. http://dx.doi.org/10.14321/qed.10.3.0256.

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Abstract In this article, the author analyzes the cultural, racial, sexual, and gendered politics that inform the staged and quotidian performances of masculinity by the late Stormé DeLarverie. A mixed-race butch lesbian male impersonator who, in the 1950s and 1960s, performed with the famed Jewel Box Revue, a racially integrated drag show at the Apollo Theater, DeLarverie was also a central figure in the 1969 Stonewall Riots. The author reaches across DeLarverie's personal history, life-long activism, and staged performances as a way to frame the relationship between DeLarverie's gender prese

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11

Kishkinova, Evgenia M. "Fasad Sculpture of Provincial Eclectics on the Example of Rostov-on-Don: Iconography, Symbols, Stylistics." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 449–66. http://dx.doi.org/10.21638/spbu15.2023.304.

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The article is devoted to the study of eclectic facade sculpture in the historical center of Rostov-on-Don, considered in accordance with specific neo-styles. Sculpture plays an important compositional role in the design of the facades of Neo-Baroque monuments, emphasizing the rhythmic organization of facades, emphasizing the central and corner parts of buildings. Sculptural decor in the design of facades, designed within the neo-Greek and Neo-Renaissance, obeys the compositional rhythm set by architectural forms, is most often placed in architecturally limited fields, highlights the compositi

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12

Leyman, I. I. "Merchants and Technological Progress (A Case Study of the Vologda Governorate during the Second Half of the 19th and Early 20th Centuries)." Uchenye Zapiski Kazanskogo Universiteta Seriya Gumanitarnye Nauki 166, no. 4 (2024): 142–52. https://doi.org/10.26907/2541-7738.2024.4.142-152.

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This article shows, based on a detailed analysis of both archival and published sources (including the periodical “Vologodskie Gubernskie Vedomosti” (‘Vologda Provincial Gazette’)), how Vologda merchants used various technological advancements in their business and daily practices during the second half of the 19th and early 20th centuries. In the Russian Empire, it was the time of rapid science and technology development, with innovations becoming increasingly integrated into everyday life. The merchants of the Vologda Governorate, like those in other regions, were the early adopters of this

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13

Jastrzębowska, Elżbieta. "The House of Aion in Nea Paphos: seat of an artistic synodos?" Polish Archaeology in the Mediterranean, no. 30/2 (December 31, 2021): 339–86. http://dx.doi.org/10.31338/uw.2083-537x.pam30.2.13.

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The article presents some archaeological observations based on recent publications and the author’s survey in situ of the so-called “House of Aion” at Nea Paphos in Cyprus. The archaeological context (coins and pottery) dates the last phase of this building to the 320s, its partial destruction to the earthquake of 332/342, and its final annihilation by another quake to 365. The much-discussed mosaic with mythological decoration in the triclinium and the newly analyzed wall paintings in one of the rooms (No. 7), preserving the figures of Apollo and three of the Muses, are typical decorative ele

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14

Griffith, Mark. "Brilliant Dynasts: Power and Politics in the "Oresteia"." Classical Antiquity 14, no. 1 (1995): 62–129. http://dx.doi.org/10.2307/25000143.

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Intertwined with the celebration of Athenian democratic institutions, we find in the "Oresteia" another chain of interactions, in which the elite families of Argos, Phokis, Athens, and even Mount Olympos employ the traditional aristocratic relationships of xenia and hetaireia to renegotiate their own status within-and at the pinnacle of-the civic order, and thereby guarantee the renewed prosperity of their respective communities. The capture of Troy is the result of a joint venture by the Atreidai and the Olympian "family" (primarily Zeus xenios and Athena). Although Agamemnon falls victim to

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15

Musiiachenko, Olha. "BUSINESS DOCUMENTATION AS RESEARCH SOURCE OF KYIV MUSIC ENVIROMENT IN LATE 19 — EARLY 20 c." Kyiv Historical Studies 11, no. 2 (2020): 24–28. http://dx.doi.org/10.28925/2524-0757.2020.2.3.

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The results of the study of Kyiv music environment in the late 19 — early 20 centuries are presented through the analysis of business documentation. The peculiarities of researching the music environment of cities and the experience of using different types of sources when studying the music environment have been examined. The study of archival documents of Kyiv of this period allowed us to determine the specific components of the music environment of the city that were presented in the business documentation in late 19 — early 20 centuries. Our main source is data taken from archival institut

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16

Vietrov, Oleksii. "Mykola Koval in the history of vocal art in the Kharkiv region." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 64, no. 64 (2022): 24–37. http://dx.doi.org/10.34064/khnum1-64.02.

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Statement of the problem. People’s Artist of Ukraine Mykola Petrovych Koval (1946–2018) is a representative of the Kharkiv vocal school, which was established at the turn of the nineteenth and twentieth centuries. Possessing a wonderful dramatic baritone (bass-baritone) of rich timbre, he was a successor to the traditions of Italian bel canto that prevailed in the classes of prominent Kharkiv vocal teachers P. Holubiev, M. Mykhailov, T. Veske. The significance of the multifaceted work of this outstanding artist necessitates a systematic study of his music legacy, which has not yet been suffici

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17

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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18

"VERGNÜGLICH." Opernwelt 65, no. 4 (2024): 50. http://dx.doi.org/10.5771/0030-3690-2024-4-050.

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19

Paul, Robertson. "Delphi." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12572310.

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Delphi was the main, institutional oracular site in ancient Greece. On an ancient temple site with purported divinatory practices going as far back at 1600 BCE, it became a formal cult site of Apollo and his oracle in the 8th century BCE. The central religious activity was the Oracle at Delphi, also known as the "Pythia" after the primordial, mythical python slain by the god Apollo at the site to claim it for the Greek pantheon. The Pythia was both the high priestess of Apollo and his oracular mouthpiece, uttering authoritative but vague and often frenzied prophecies that made her the object o

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20

"Ain't nothing like the real thing: how the Apollo Theater shaped American entertainment." Choice Reviews Online 48, no. 09 (2011): 48–4970. http://dx.doi.org/10.5860/choice.48-4970.

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21

Кокшенева, К. А. "‘Organic Art’: Stanislavsky, Grigoriev, Strakhov (Part 3)." Культурологический журнал, no. 1(47) (March 31, 2022). http://dx.doi.org/10.34685/hi.2022.14.97.003.

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О творчестве и трудах К.С.Станиславского (1863-1938) написано огромное количество исследований – и сделано это в основном в советский период. Сегодня его наследие всё чаще и чаще рассматривается как «проблематичное» – подвергнувшееся советской идеологизации, массовой унификации театров «под МХАТ», что имело место, но никак не смогло исказить суть творческих поисков театрального классика. Сама «система Станиславского» объявляется сегодня в лучшем случае «незавершённой», в которой современный театр не может найти для себя ничего существенного. С другой стороны, «новые наследники», написавшие имя

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22

Кокшенева, К. А. "“Organic Art”: Stanislavsky, Grigoriev, Strakhov (Part 2)." Культурологический журнал, no. 4(46) (December 8, 2021). http://dx.doi.org/10.34685/hi.2021.34.11.005.

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О творчестве и трудах К.С.Станиславского (1863-1938) написано огромное количество исследований – и сделано это в основном в советский период. Сегодня его наследие всё чаще и чаще рассматривается как «проблематичное» – подвергнувшееся советской идеологизации, массовой унификации театров «под МХАТ», что имело место, но никак не смогло исказить суть творческих поисков театрального классика. Сама «система Станиславского» объявляется сегодня в лучшем случае «незавершённой», в которой современный театр не может найти для себя ничего существенного. С другой стороны, «новые наследники», написавшие имя

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23

Кокшенева, К. А. "“Organic Art”: Stanislavsky, Grigoriev, Strakhov (Part 1)." Культурологический журнал, no. 3(45) (October 26, 2021). http://dx.doi.org/10.34685/hi.2021.54.20.022.

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О творчестве и трудах К.С.Станиславского (1863-1938) написано огромное количество исследований – и сделано это в основном в советский период. Сегодня его наследие все чаще и чаще рассматривается как «проблематичное» – подвергнувшееся советской идеологизации, массовой унификации театров «под МХАТ», что имело место, но никак не смогло исказить суть творческих поисков театрального классика. Сама «система Станиславского» объявляется сегодня в лучшем случае «незавершенной», в которой современный театр не может найти для себя ничего существенного. С другой стороны, «новые наследники», написавшие имя

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