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Relevant bibliographies by topics / Moiseiwitsch, Tanya

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Academic literature on the topic 'Moiseiwitsch, Tanya'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Moiseiwitsch, Tanya"

1

"The Stage is all the world: the theatrical designs of Tanya Moiseiwitsch." Choice Reviews Online 32, no. 07 (March 1, 1995): 32–3825. http://dx.doi.org/10.5860/choice.32-3825.

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Dissertations / Theses on the topic "Moiseiwitsch, Tanya"

1

Clayton-Gouthro, Cecile M. "Serving the production : Tanya Moiseiwitsch's application of colour in Shakespearean theatrical costume design." 1994. http://hdl.handle.net/1993/17876.

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Books on the topic "Moiseiwitsch, Tanya"

1

Davis, Robertson, and Stratford Festival (Ont ). The Stage Is All the World: The Theatrical Designs of Tanya Moiseiwitsch. Univ of Washington Pr, 1994.

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2

1914-, Moiseiwitsch Tanya, Edelstein T. J, Barlow Alan, David and Alfred Smart Museum of Art., Parnassus Foundation, and Stratford Festival (Ont ), eds. The stage is all the world: The theatrical designs of Tanya Moiseiwitsch. Chicago: The David and Alfred Smart Museum of Art, The University of Chicago, in association with the University of Washington Press, 1994.

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3

Reynolds, Paige. Design and Direction to 1960. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.14.

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Early Abbey staging and design was extremely simple, partly enforced by the limitations of their resources. Yeats’s ambitious experiments with the screens of Gordon Craig came to nothing. Initially, the Gate Theatre was established self-consciously as a theatrical alternative to the Abbey, open to European aesthetics, and concentrated on stage production and design, ideas articulated and exemplified by Micheál Mac Liammóir and Hilton Edwards in their design and direction work. However, the chapter argues that this conventional narrative overlooks the design work of Tanya Moiseiwitsch at the Abbey Theatre in the 1930s, which showed a strong influence of expressionism. When the view of Irish theatre is further broadened to include pageants and public performances which are also a feature of mid-century, it becomes clear that Irish theatre of the time was far from being an unrelieved vista of peasant realism.

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