To see the other types of publications on this topic, follow the link: MUSEUM OF THEATER.
Journal articles on the topic 'MUSEUM OF THEATER'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'MUSEUM OF THEATER.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Forbes, Maggie. "Museum Theater in a Children's Museum." Journal of Museum Education 15, no. 2 (March 1990): 10–12. http://dx.doi.org/10.1080/10598650.1990.11510141.
Full text
2
Portnova, Tatiana V. "Theater museums as a base for excursion and tourism programs." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 333–39. http://dx.doi.org/10.34069/ai/2020.27.03.36.
Full textAbstract:
The article discusses excursion work related to theatrical museum collections, which is one of the interesting, but little developed types of activities in the field of tourism. Гhe author refers to the specifics of the theater museums involved in updating knowledge and raising the professional level, developing practical skills and professional competencies of tourism service specialists in the field of a holistic presentation of the history of the development of such a museum as a specific sociocultural institute. It touches on the interesting history of the creation, formation and composition of collections, as well as the modern activities of major museums and the latest museum centers around the world, hosting tourists. It is noted that the purpose of excursion and tourist programs using the collections of theater museums is not only to improve the modern tourist structure, but also to create a special spatial and artistic image that complements the content of the text, overcomes psychological discomfort due to the frequent presence of tourists in the bus or in open spaces , by creating favorable environmental conditions, the realization of the aesthetic potential of the museum atmosphere, capable of Favorably affect the emotional state and enrich the tour. In this regard, today, an important complex of problems that lie in the aesthetic field arises in the context of intensive tourism development processes, along with the need to solve infrastructure and technological issues, problems of implementing socio-economic problems in the tourism sector. Theater museums in excursion programs are considered as a special historical and cultural phenomenon. Their development is a continuation of world and domestic experience and, at the same time, a unique cultural phenomenon, inextricably linked both with the regional traditions of the countries and with the theater school - the academic school, for which the theater exhibit has become the most important area for the realization of creative potential. An attempt is being made to reflect the optimal combination of considering general theoretical and methodological issues and concrete and practical material on museum theater pedagogy.
3
Oestreicher, Lee. "Museum Theater: Coming of Age." Journal of Museum Education 15, no. 2 (March 1990): 4–5. http://dx.doi.org/10.1080/10598650.1990.11510138.
Full text
4
Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (May 2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.
Full textAbstract:
Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.
5
Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.
Full textAbstract:
Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet
6
Bridal, Tessa. "Further Reading on Museum Theater Tessa Bridal." Journal of Museum Education 15, no. 2 (March 1990): 14. http://dx.doi.org/10.1080/10598650.1990.11510143.
Full text
7
Pidvalna, Uliana, and Lesya Mateshuk-Vatseba. "Mortui vivos docent [The dead teach the living]." Journal of Morphological Sciences 36, no. 04 (December 2019): 291–94. http://dx.doi.org/10.1055/s-0039-1698377.
Full textAbstract:
AbstractMedical museums are a record of the history of the medical thought processes. The Anatomical museum of the Department of Normal Anatomy located in the Danylo Halytsky Lviv National Medical University was founded in 1894 by Professor Henryk Kadyi (1851–1912). The museum includes a number of unique objects and displays > 2,000 specimens. These medical artifacts include both normal anatomy and malformed artifacts. The museum is divided into three sections that are arranged according to the systems of the body and a method of preparing specimens. The vast array of preserved specimens represents comparative, developmental, gender, systemic, dynamic, plastic, and descriptive anatomy. Besides the Anatomical museum, the historical treasure is the Anatomical Theater, the oldest auditorium at the Danylo Halytsky Lviv National Medical University that preserved its authenticity. These educational places teach us not only about morphology, but also help us appreciate the beauty of the human body.
8
Schwind, David R. "Acoustical design of the Randall Jr. Museum Theater." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2440. http://dx.doi.org/10.1121/1.4781946.
Full text
9
Gómez Merino, José Luis. "Escaneado 3D e interpretación virtual del Teatro romano de Córdoba." Virtual Archaeology Review 3, no. 6 (November 1, 2012): 20. http://dx.doi.org/10.4995/var.2012.4422.
Full textAbstract:
<p>The remains of the Roman Theater in Córdoba are located in the cellars of the Archaeological Museum. We have scanned the remains in order to use them to explain the visitors the features of the theatre. With this scanned 3D information we have made videos and images across the path for visitors to perform visual information for them. The challenge consists in making the public enjoy using technical graphic information.</p>
10
Dmitrieva, L. V. "Children's immersive theater in the party practices of the museum." Voprosy kul'turologii (Issues of Cultural Studies), no. 1 (January 1, 2021): 50–55. http://dx.doi.org/10.33920/nik-01-2101-06.
Full textAbstract:
The publication was prepared on the basis of practical experience with the children's audience of the museum. Approaches and principles of immersive theater are considered, which are the basis for designing an interactive excursion-performance as a form of mastering the historical landscape through partisan cultural practices. The proposed project is the basic part of the program of summer visiting practice of students of the “Cultural Education” profile in the museum-reserve “Tauric Chersonesos” (2017–2019).
11
Yellis, Ken. "Cueing the Visitor: The Museum Theater and the Visitor Performance." Curator: The Museum Journal 53, no. 1 (January 2010): 87–103. http://dx.doi.org/10.1111/j.2151-6952.2009.00010.x.
Full text
12
Rutowski, Patricia. "Theater Techniques in an Aquarium or a Natural History Museum." Journal of Museum Education 15, no. 2 (March 1990): 5–7. http://dx.doi.org/10.1080/10598650.1990.11510139.
Full text
13
Querner, Pascal, Michaela Morelli, Elke Oberthaler, Monica Strolz, Katja Schmitz Von Ledebur, Johanna Diehl, Isabell Zatschek, et al. "Ten years of Integrated Pest Management (IPM) at the Kunsthistorisches Museum in Wien." Journal of Entomological and Acarological Research 43, no. 2 (August 20, 2011): 185. http://dx.doi.org/10.4081/jear.2011.185.
Full textAbstract:
The Kunsthistorisches Museum Wien is one of the largest fine arts collections worldwide, comprising the Kunsthistorisches Museum, the Austrian Theater Museum, the Museum of Ethnology, all placed in Vienna, and Schloß Ambras in Tirol. We present results from up to 10 years of insect pest monitoring in different collections and the implementation of an Integrated Pest Management (IPM) concept. The Kunsthistorisches Museum was the first museum in Vienna to introduce such a concept. We also present specific insect pest problems such as a biscuit beetle (<em>Stegobium paniceum</em>) infestation of paintings lined with starch paste backings (linings) or the webbing clothes moth (<em>Tineola bisselliella</em>) infestation at the Museum of Carriages, both repeatedly occurring problems in the museum. With the help of the insect pest monitoring programs, these and other problems were found and the infested objects treated, usually with anoxia (nitrogen).
14
Katrib, Ruba. "Representation and identity: Reflections on presenting contemporary art in an American museum." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (March 1, 2021): 199–214. http://dx.doi.org/10.1386/jciaw_00048_1.
Full textAbstract:
This text is a curatorial reflection upon the process of organizing the exhibition Theater of Operations: The Gulf Wars 1991–2011, which took place at MoMA PS1 in 2019. The text questions the possibilities and limits of decolonial curating in an American museum and analyses the reception of Iraqi contemporary art in a Western context.
15
von Lintig, Bettina, and Susanna Aulbach. "Objects Hit Back: Intimate Theater in the Rautenstrauch-Joest-Museum für Völkerkunde." African Arts 29, no. 1 (1996): 70. http://dx.doi.org/10.2307/3337451.
Full text
16
Khakimulina, Olga N., and Olga G. Fedchenkova. "Theater in museum: Continuation of the tradition of Princess M. K. Tenisheva." Issues of Museology 9, no. 1 (2018): 55–63. http://dx.doi.org/10.21638/11701/spbu27.2018.105.
Full text
17
BAUM, LYNN, and CATHERINE HUGHES. "Ten Years of Evaluating Science Theater at the Museum of Science, Boston." Curator: The Museum Journal 44, no. 4 (October 2001): 355–69. http://dx.doi.org/10.1111/j.2151-6952.2001.tb01175.x.
Full text
18
Hawkey, Roy. "All the (Natural) World's a Stage: Museum Theater as an Educational Tool." Curator: The Museum Journal 46, no. 1 (January 2003): 42–59. http://dx.doi.org/10.1111/j.2151-6952.2003.tb00076.x.
Full text
19
Sparacino, F., G. Davenport, and A. Pentland. "Media in performance: Interactive spaces for dance, theater, circus, and museum exhibits." IBM Systems Journal 39, no. 3.4 (2000): 479–510. http://dx.doi.org/10.1147/sj.393.0479.
Full text
20
Yuan, Ao. ""Rebirth" of Old Buildings - Impressing on Protecion & Reuse of the Old Buildings of Zeche Zollverein near Essen in the Ruhr Area, Germany." Applied Mechanics and Materials 409-410 (September 2013): 496–99. http://dx.doi.org/10.4028/www.scientific.net/amm.409-410.496.
Full textAbstract:
In Zeche Zollverein near Essen in the Ruhr Area, the old plants are rebuilt as culture & recreation places such as museum, restaurant and theater and so on, they get the rebirth. The industrial feel was conserved, and the buildings continue the history with immitting of new blood at the mean time. Symbiosis of old and new building proposed new ideas.
21
Lomb, N. R., and T. Wilson. "Sydney Observatory Goes Public." International Astronomical Union Colloquium 105 (1990): 357–59. http://dx.doi.org/10.1017/s0252921100087170.
Full textAbstract:
In 1982, after a 124-year history of research, Sydney Observatory became a branch of a large local museum, the Museum of Applied Arts and Sciences. A four-year, million-dollar project was undertaken to restore the building and its grounds to their nineteenth century appearance. The services needed for a modern museum were also added. One of the larger areas became a modern lecture theater seating up to fifty people, with back projection video, film and slide projectors.Exhibition space within the building is limited to eight rooms of approximately 200 m2 total area. To overcome this lack of space, a proposal has been made for an extension to the rear of the building. An underground 100-seat planetarium is included in the proposal. There is a great need for this as there is no planetarium currently in Sydney.
22
Roberts, Mary (Polly) Nooter. "Museum as Twenty-first Century Memory Theater: The Arts of Africa at LACMA." African Arts 46, no. 4 (December 2013): 1–4. http://dx.doi.org/10.1162/afar_e_00099.
Full text
23
Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and world culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2541-7894-2020-4-219-241.
Full textAbstract:
The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.
24
Benjamin, Stefanie, and Derek Alderman. "Performing a different narrative: museum theater and the memory-work of producing and managing slavery heritage at southern plantation museums." International Journal of Heritage Studies 24, no. 3 (September 22, 2017): 270–82. http://dx.doi.org/10.1080/13527258.2017.1378906.
Full text
25
Wutrich, Timothy Richard. "A Proposal for a Theater Museum: Staging the Fragments of Greek and Roman Drama." Comparative Drama 29, no. 4 (1995): 466–77. http://dx.doi.org/10.1353/cdr.1995.0042.
Full text
26
Barbieri, Claudia. "O espólio teatral do dramaturgo português Gervásio Lobato / The Theatrical Collection of the Portuguese Playwright Gervásio Lobato." Revista do Centro de Estudos Portugueses 40, no. 64 (February 3, 2021): 37. http://dx.doi.org/10.17851/2359-0076.40.64.37-55.
Full textAbstract:
Resumo: Gervásio Lobato (1845-1895) foi um proeminente dramaturgo português, além de romancista, contista, tradutor e jornalista. Há, contudo, dissonâncias entre a expressiva recepção crítica que sua obra teatral recebeu enquanto o escritor ainda era vivo e o subsequente apagamento de seu nome e de sua dramaturgia nos volumes de história do teatro português publicados a partir de 1960. O artigo tem por objetivos formular algumas hipóteses para explicar este descompasso entre recepção e crítica, além de discorrer sobre a organização do espólio do escritor, pertencente ao Museu Nacional do Teatro e da Dança, em Lisboa. A dificuldade de acesso aos arquivos, a ausência de reedições das peças, a variedade de suportes são alguns entraves que podem ser elencados e que precisam ser resolvidos ao longo do processo de resgate do teatro gervasiano.Palavras-chave: Gervásio Lobato; teatro português; organização de espólio.Abstract: Gervásio Lobato (1845-1895) was a prominent Portuguese playwright, as well as a novelist, short story writer, translator and journalist. There are, however, dissonances between the expressive critical reception that his theatrical work received while the writer was still alive and the subsequent erasure of his name and dramaturgy in the volumes of Portuguese theater history published since 1960. The article aims to formulate some hypotheses to explain this mismatch between reception and criticism, in addition to discussing the organization of the writer’s estate, belonging to the Museum of Theater and Dance, in Lisbon. The difficulty of accessing the archives, the absence of reissues of the plays, the variety of supports are some obstacles that can be listed and that need to be resolved throughout the process of rescuing the Gervasian theater.Keywords: Gervásio Lobato; Portuguese theater; theatrical collection organization.
27
Prado, Gustavo. "El diseño de modas mexicano como lenguaje museal ¿Pasarela, museo o teatro?" Economía Creativa, no. 1 (May 7, 2014): 71–77. http://dx.doi.org/10.46840/ec.2014.01.08.
Full text
28
Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.
Full textAbstract:
Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.
29
Zhang, John Zaixin. "“Postmodern” Space in the Heart of Beijing: From the National Theater to the Palace Museum." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 256–63. http://dx.doi.org/10.1632/pmla.2007.122.1.256.
Full textAbstract:
I would like to draw on Wai Chee Dimock's notion of “deep time” as “denationalized space” to situate the present study in the context of postmodernism and globalization (“Time” 760). Dimock argues that “literary space and time are conditional and elastic; their distances can vary, can lengthen or contract, depending on who is reading and what is being read” (“Planet” 174) and that “the continuum of historical life does not grant the privilege of autonomy to any spatial locale” or “to any temporal segment”: “periodization, in this sense, is no more than a fiction” (“Time” 757). Within this constellation of ideas, the “postmodern” space in the heart of Beijing stretches back to ancient China as much as it reaches forward to contemporary thought. In this sense, “postmodern” space, as a quotation (of other quoted spaces), is both postmodern and antipost-modern, postmodern in the sense that the past has collapsed into the present and antipostmodern in the sense that postmodernism is as postmodern as it is ancient, so that it loses its foothold in contemporaneity and its need for periodization. In the pages that follow, I will discuss the “postmodern” space manifested in the National Theater of China and the Palace Museum (also known as the Forbidden City) in terms of a blurred spatial dichotomy of inside and outside.
30
Peleg, R., and A. Baram-Tsabari. "Understanding Producers’ Intentions and Viewers’ Learning Outcomes in a Science Museum Theater Play on Evolution." Research in Science Education 46, no. 5 (September 14, 2015): 715–41. http://dx.doi.org/10.1007/s11165-015-9477-7.
Full text
31
Albertin, Fauzia, Matteo Bettuzzi, Rosa Brancaccio, Maria Pia Morigi, and Franco Casali. "X-Ray Computed Tomography In Situ: An Opportunity for Museums and Restoration Laboratories." Heritage 2, no. 3 (July 19, 2019): 2028–38. http://dx.doi.org/10.3390/heritage2030122.
Full textAbstract:
X-ray Computed Tomography (X-ray CT) is a sophisticated non-destructive imaging technique to investigate structures and materials of complex objects, and its application can answer many conservation and restoration questions. However, for Cultural Heritage investigations, medical CT scanners are not optimized for many case-studies: These instruments are designed for the human body, are not flexible and are difficult to use in situ. To overcome these limitations and to safely investigate works of art on site—in a restoration laboratory or in a museum—the X-ray Tomography Laboratory of the University of Bologna designed several CT systems. Here we present two of these facilities and the results of important measurement campaigns performed in situ. The first instrument, light and flexible, is designed to investigate medium-size objects with a resolution of a few tens of microns and was used for the CT analysis of several Japanese theater masks belonging to the collection of the “L. Pigorini” Museum (Rome). The second is designed to analyze larger objects, up to 200 cm and was used to investigate the collection of the so-called “Statue Vestite” (devotional dressed statues) of the Diocesan Museum of Massa.
32
Fitski, Menno. "WISSELING IN HET PAVILJOEN NO-THEATER KOSTUUMS UIT DE COLLECTIE VAN HET OKURA MUSEUM OF ART." Aziatische Kunst 46, no. 2 (July 11, 2016): 2–4. http://dx.doi.org/10.1163/25431749-90000312.
Full text
33
Popper, Frank. "Art, Science, Technology: Six Exhibitions 1966–1998." Leonardo 52, no. 2 (April 2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
Full textAbstract:
From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
34
Shemyakina, Sophia. "History of One Portrait." Bulletin of Baikal State University 29, no. 1 (April 4, 2019): 32–38. http://dx.doi.org/10.17150/2500-2759.2019.29(1).32-38.
Full textAbstract:
Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofeevich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.
35
Gutsche-Miller, Sarah. "Ballet Fit for a National Theater? Carré, the Critics, and Le Cygne at the Opéra-Comique." Journal of Musicology 38, no. 2 (2021): 183–208. http://dx.doi.org/10.1525/jm.2021.38.2.183.
Full textAbstract:
When Albert Carré became the director of the Paris Opéra-Comique in 1898, he did so with the goal of rejuvenating French lyric theater. He also took possession of a national institution in a state of flux. The Opéra-Comique had a new hall and a new mandate, and it had recently become the focus of debates in the press about what role the city’s second national lyric theater should play in French culture. Although debates initially revolved around opera, Carré’s plans for renewal included ballet, not seen at the Opéra-Comique for over a century. This article discusses the role ballet played in promoting Carré’s artistic objectives. At first glance the theater’s repertoire appears to be at odds with Carré’s progressive ideals. The Opéra-Comique staged only one innovative ballet, Le Cygne (1899)—a pop-culture-inflected mythological parody by Catulle Mendès, Charles Lecocq, and Madame Mariquita. Carré then turned to staging old-fashioned pantomime-ballets, confining innovative dances to divertissements in operas. The reasons for Carré’s repertoire decisions can, I argue, be found in the reception of Le Cygne. Carré’s initial ballet was highly contested, and critics’ arguments mirrored ongoing press debates about ballet’s value and place in French culture. I contend that Carré’s initial modernist ballet, and his shift to mixing conventional pantomime-ballets with modern opera divertissements in response to the contentious reception of Le Cygne, were part of a calculated attempt to establish the Opéra-Comique as an emblematic French national theater that was simultaneously a museum and a progressive space for modern innovation.
36
Koleva, Donka. "Project "Digital Presentation and Preservation of the Cultural Heritage of the Old-print Fund and the Historical Theatre Salon of Community Center "Nadejda 1869", Veliko Tarnovo"." Cultural and Historical Heritage: Preservation, Representation, Digitalization 6, no. 1 (2020): 32–42. http://dx.doi.org/10.26615/issn.2367-8038.2020_1_003.
Full textAbstract:
The topic is dedicated to the joint project between „Nadejda 1869” community Center and Regional Library „P.R.Slaveykov”. The objectives of the project are preservation and popularization of the Bulgarian cultural heritage in the European context of cultural and creative industries, cultural exchange and cultural diversity through: (1) Presentation and popularization of the value of the cultural wealth of the Community centre; Popularization of the theme of the book Treasures of the Community Library and innovative online presentation of the old Printing fund, storing it in electronic form to facilitate access to it and its preservation for future generations; (2)Popularization of the historical cultural hall, connected with statehood and the first inscription „Unity makes Power” by digitization of archival documentation; (3) Stimulating sustainable partnerships, exchanging experience and knowledge, bringing together scientific and practical experience in the preservation of cultural heritage and volunteering. The community Center „Nadezhda 1869” is associated with historical events important for the Bulgarian statehood. Three great folk assemblies were sitting in his theater hall. It starts the library and museum work, the theater, the cinema and the Art Gallery in the city. The library has a fund of 48 787 units, and the old-print collection consists of 446 books, newspapers and magazines from the period 16th -19th century. The oldest is the book „The Work Miney”, printed in Venice in 1588 and containing religious texts in Greek. For digitization is selected the topic „Bulgarian education to Liberation”, consisting of teaching aids in linguistics, natural sciences, mathematics and history – a total of 78 titles. Digitization is carried out in the specialised Digital center „North +” of Regional Library “P.R.Slaveykov", created under the program BG08 „Cultural Heritage and contemporary arts”. The successful realization of the project activities will help to protect and promote knowledge, improve access through digital technologies to the specialized collections of the old Printing fund and popularization of the Historical Theatre Hall -National value, through their inclusion in the cultural treasury „North +”, the rubric „Old print Fund” and the website of the Community Center. Keywords: Preservation of Cultural Heritage, Old-print Fund, Historical Theatre Salon "Nadejda"
37
Kotin, Igor Yu, Nina G. Krasnodembskaya, and Elena S. Soboleva. "India of 1920s as Seen by Soviet Playwright, Consulting Indologists, Theater Critics." RUDN Journal of Russian History 20, no. 1 (December 15, 2021): 125–44. http://dx.doi.org/10.22363/2312-8674-2021-20-1-125-144.
Full textAbstract:
The authors of this contribution analyze the circumstances and the history of a popular play that was staged in the Soviet Union in 1927-1928. Titled Jumah Masjid, this play was devoted to the anti-colonial movement in India. A manuscript of the play, not indicating its title and the name of its author, was found in the St. Petersburg Branch of the Archive of the Russian Academy of Sciences among the papers related to A.M. and L.A. Meerwarth, members of the First Russian Expedition to Ceylon and India (1914-1918). Later on, two copies of this play under the title The Jumah Masjid were found in the Russian Archive of Literature and Art and in the Museum of the Tovstonogov Grand Drama Theatre. The authors of this article use archival and published sources to analyze the reasons for writing and staging the play. They consider the image of India as portrayed by a Soviet playwright in conjunction with Indologists that served as consultants, and as seen by theater critics and by the audience (according to what the press reflected). Arguably, the celebration of the 10th anniversary of the October Revolution in Russia in 1927 and the VI Congress of the Communist International (Comintern) in 1928 encouraged writing and staging the play. The detailed picture of the anti-colonial struggle in India that the play offered suggests that professional Indologists were consulted. At the same time the play is critical of the non-violent opposition encouraged by Mahatma Gandhi as well as the Indian National Congress and its political wing known as the Swaraj Party. The research demonstrates that the author of the play was G.S. Venetsianov, and his Indologist consultants were Alexander and Liudmila Meerwarth.
38
Domanskii, Yurii V. "THE OXYMORICITY OF СYCLIZATION IN SONG PERFORMANCES PRESENTED ON THE MODERN THEATER STAGE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 148–58. http://dx.doi.org/10.28995/2686-7249-2021-3-148-158.
Full textAbstract:
The article considers some of the song performances presented as a part of two theatrical productions on Moscow stage: Moscow’s Ermolova Theater musical performance of Dream Orchestra. Brass and stage production Boris hosted by Museum of Moscow. As it is illustrated, some of the songs in each of the stage productions are combined in a way that forms a sort of cycles. However, it is a kind of cyclization which is essentially characterized by oxymoronic nature. Namely the elements of the cyclization find themselves in confrontation with each other. Meanwhile, the paradox is that the oxymoricity highly intensifies the cyclization, for it takes part in creating a complete unity and it even works as a necessary conjunction for the cycle forming. As to meaning forming, the characteristic of artistic creation such as the oxymoricity of cyclization may work as a bright and effective way of representation on stage the versatility of human perception of reality, the complexity of human nature in its actual manifestations; also, it may help to aesthetically comprehend the difficult time, the time of transition, the time that generates abnormal life phenomena, and the time produced by the aberrant phenomena
39
Pollock, Griselda. "Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch." Text Matters, no. 7 (October 16, 2017): 114–44. http://dx.doi.org/10.1515/texmat-2017-0007.
Full textAbstract:
This paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche.
40
Reuband, Karl-Heinz. "Die Neustrukturierung der Altersbeziehung kultureller Partizipation Ein Langzeitvergleich bundesweiter Bevölkerungsumfragen." Zeitschrift für Kulturmanagement 4, no. 1 (May 1, 2018): 23–52. http://dx.doi.org/10.14361/zkmm-2018-0102.
Full textAbstract:
AbstractAuf der Basis bundesweiter, repräsentativer Bevölkerungsumfragen aus den Jahren 1972 und 2016 wird untersucht, wie sich die kulturelle Partizipation der Bürger in Deutschland, in Bezug auf den Besuch von Oper, klassischem Konzert, Theater und Museum, verändert hat. Die Analyse erbringt eine grundlegende Umkehr der Altersbeziehung: während kulturelle Partizipation in den 1970er Jahren unter den Jüngeren stärker verbreitet war als unter den Älteren und mit steigendem Alter abnahm, sind es heutzutage die Älteren, die überproportional an der Hochkultur partizipieren. Kennzeichnend für den Wandel ist ein doppelter, gegenläufiger Prozess: eine Erosion der Partizipation auf Seiten der Jüngeren und ein Zuwachs auf Seiten den Älteren. Er ist partiell als Folge gewandelter altersbezogener Lebensstile zu verstehen, die sich seit den 1950er Jahren im Rahmen einer verstärkten Hinwendung zur Außenwelt in der Gestaltung der eigenen Lebensführung vollzogen haben.
41
Gonsales, Flavia I. "Social marketing for museums: an introduction to social marketing for the arts and culture sector." RAUSP Management Journal 56, no. 3 (June 7, 2021): 314–33. http://dx.doi.org/10.1108/rausp-08-2020-0194.
Full textAbstract:
Purpose The paper aims to introduce social marketing (SM) as a tool to overcome the low cultural participation, a problem of the arts and culture sector that has worsened in the post-pandemic scenario. Design/methodology/approach The study uses a multidisciplinary literature review (SM, museum marketing, museology and cultural policy) to address the problem of museums and other cultural heritage institutions, at both the macro-level (prevailing cultural policies and antecedents, barriers and consequences to cultural participation) and micro-level (challenges faced by museums in the 21st century and marketing as a management instrument). Findings The downstream, midstream and upstream approaches can be used to design and implement SM interventions intended to address the problem of low cultural participation in museums. The three approaches should be considered holistically, with their synergetic and recursive effects. Research limitations/implications Due to its introductory and conceptual nature, the study provides a comprehensive intervention framework to be used as a platform for future theoretical and empirical research. Further investigations may expand on the specificities of each approach (down, mid and upstream) and extend the framework to other nonprofit cultural institutions beyond museums, such as libraries and archives, cultural heritage sites and theater, music and dance companies. Practical implications The paper proposes a comprehensive SM intervention framework that integrates three interdependent approaches (downstream, midstream and upstream). Originality/value The paper provides a starting point for the holistic application of SM in the arts and culture sector. It also encourages researchers, cultural policymakers and cultural heritage professionals to investigate, design and implement SM programs that better understand, expand and diversify the audience and strengthen the legitimacy and relevance of cultural actors and activities to transform them into inclusive, accessible and sustainable institutions.
42
Nedbal, Martin. "Mozart's Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague." 19th-Century Music 41, no. 3 (2018): 183–205. http://dx.doi.org/10.1525/ncm.2018.41.3.183.
Full textAbstract:
After the enormous success of Le nozze di Figaro at Prague's Nostitz Theater in 1786 and the world premiere of Don Giovanni there in 1787, Mozart's operas became canonic works in the Bohemian capital, with numerous performances every season throughout the nineteenth century. These nineteenth-century Prague Mozart productions are particularly well documented in the previously overlooked collection of theater posters from the Czech National Museum and the mid-nineteenth-century manuscript scores of Le nozze di Figaro. Much sooner than elsewhere in Europe, Prague's critics, audiences, and opera institutions aimed at historically informed, “authentic” productions of these operas. This article shows that the attempts to transform Mozart's operas into autonomous artworks, artworks that would faithfully reflect the unique vision of their creator and not succumb to changing audience tastes, were closely linked to national politics in nineteenth-century Prague. As the city's population became more and more divided into ethnic Czechs and Germans, both groups appropriated Mozart for their own narratives of cultural uniqueness and cultivation. The attempts at historic authenticity originated already in the 1820s, when Czech opera performers and critics wanted to perform Don Giovanni in a form that was as close as possible to that created by Mozart in 1787 but distorted in various German singspiel adaptations. Similar attempts at historical authenticity are also prominent in Bedřich Smetana's approach to Le nozze di Figaro, during his tenure as the music director of the Czech Provisional Theater in the late 1860s. German-speaking performers and critics used claims of historical authenticity in the 1830s and 40s to stress Prague's importance as a prominent center of German culture. During the celebrations of the 1887 Don Giovanni centennial, furthermore, both the Czech and German communities in Prague appropriated Mozart's operas into their intensely nationalistic debates.
43
Nikonanou, Niki, and Foteini Venieri. "Interpreting social issues: Museum theatre’s potential for critical engagement." Museum and Society 15, no. 1 (June 9, 2017): 16–32. http://dx.doi.org/10.29311/mas.v15i1.659.
Full textAbstract:
Museum theatre and its potential within museum education is explored at the Museum Education and Research Laboratory at the University of Thessaly, Greece. There, the leading research project Museums and Education: methods of approaching and interpreting museum objects’aims to address how, over the last few decades, museum theatre has been in ever-increasing use to vocalize the sensitive issues of a multicultural society and marginalized social communities. Recent studies highlight museum theatre evoking empathy and critical engagement in the audience with the subject-matter of the performance. One such performance was organized by the School of Drama at the Aristotle University of Thessaloniki and studied in depth. Titled Voices of the City: Historical Routes through Theatre, the performance embodied controversial social issues, and its implementation was evaluated using qualitative methodology to examine the responses of visitors.
44
Yang, Zheng. "Identity Transplantation: A Psychoanalysis of “Puppetness” in the Novel of Sabbath’s Theater." English Language and Literature Studies 7, no. 1 (February 8, 2017): 65. http://dx.doi.org/10.5539/ells.v7n1p65.
Full textAbstract:
Set against the backdrop of the lower class in America, the novel Sabbath’s Theater, which can be interpreted as a “memory’s museum of earthly blight” (Roth, 1996, p. 353), unveils a panorama of how an innocent and ingenuous boy degenerates into a dissolute and lascivious puppeteer. Mickey Sabbath, the protagonist of the novel, is described as a decadent libertine whose lustful cupidity does not subdue in the wake of his ongoing senility. Working as a puppeteer, Sabbath shrewdly turns his fingers into a pragmatic tool of subsistence and more sardonically, a licentious hook of sexuality. He epitomizes every desperate and listless loser who languishes in a dilemma between life and death. However, the law of nature has no mercy for the defeated. Like “one of billions who has grown old, ugly and embittered” (Roth, 1996, p. 143), Sabbath, at the age of sixty four, is confronted with a battery of crises—he becomes “wifeless, mistressless, penniless, vocationless and homeless” (Roth, 1996, p. 142). Enveloped in desperation and fatalism, Sabbath sets foot upon a journey toward the ultimate destination of death, during which he recalls his “motherless” childhood, his disillusioned adolescence, his youthful debauchery in whorehouses, and his irrevocable self-abandonment to puppets and women. Philip Roth compares puppetry into a “faultlessly rendered duet” (Roth, 1996, p. 438), shedding light on the cohesive juxtaposition of two divergent identities in a puppet show. This research focuses on why and how Mickey Sabbath’s outrageous abuse of identity transplantation becomes a scourge of his perversion. The concept of “puppetness” is introduced in this paper to account for the quasi-human attributes of puppets and the trinity relationship among puppets, puppeteers, and audiences. The distinctive power of puppets in emotional appeal makes them a soul-stirring agent that mediate through performers and audiences. Psychoanalysis is expected to be an optimal theory to approach to “puppetness” in this empathetic scenario.
45
Wang, Xiao Yu, Xin Ying Lan, and Xin Lu Zheng. "Research on Protection and Reuse of Industrial Heritage and Environment in Shenyang." Advanced Materials Research 616-618 (December 2012): 1425–30. http://dx.doi.org/10.4028/www.scientific.net/amr.616-618.1425.
Full textAbstract:
As a historically famous city, Shenyang boasts of a wealth of industrial heritage which, however, is suffering destructions. Based on the introduction to the general situation and the characteristics of the industrial heritage and environment in Shenyang, this paper proposes the specific measures and approaches to protecting and reusing industrial heritage and environment with a view to intensifying the efforts in protection. The specific measures and approaches includes two fields: Protection and conservation(overall protection and conservation, partial protection and conservation, and components retention); and Reuse and re-creation(an industrial museum to be built in Shenyang, a gallery of industrial culture to be built, factory building with large span to be rebuilt into store, supermarket, gym or theater，some normal factory buildings to be rebuilt into apartment , hotel or office buildings，and the structure with special form can be transformed into amusement facilities in park and city landmarks).
46
Folga-Januszewska, Dorota. "HISTORY OF THE MUSEUM CONCEPT AND CONTEMPORARY CHALLENGES: INTRODUCTION INTO THE DEBATE ON THE NEW ICOM MUSEUM DEFINITION." Muzealnictwo 61 (April 17, 2020): 39–57. http://dx.doi.org/10.5604/01.3001.0014.1129.
Full textAbstract:
The topic discussed in the paper is the change and evolution the concept of museum (Greek: museion, Latin: musaeum) has been undergoing for over 2500 years, as well as many of its different meanings: from the definition of a spot in space, including a place of worship, up to the name of learning form, research and knowledge centre, collection of texts and poetry, music and theatre festival, synonyms of a dictionary and encyclopaedia, library and a secluded study spot, up to large institutions co-creating culture and educating socially. Once museums had become social institutions, the process of defining their organizational form and their mission limits began. The International Council of Museums (ICOM), as an organization grouping museum employees and museologists, namely both practitioners and theoreticians, ever since its establishment in 1946 has on a number of occasions initiated works on a shared definition of museum. The paper assembles all the ICOM-proposed definitions in 1946–2007 presented both in English and Polish. The latest proposal submitted at the Kyoto ICOM General Conference on 7 September 2019 (Annex 1), however, for the first time aroused a heated debate and was not finally voted on by the ICOM General Assembly; instead, the debate has continued on the proposed phrasing since. The historical overview of the museum concept and the history of the ICOM museum definition presented against the opinions of invited Polish museum professionals is the ‘record of time’, documenting the considerations on the role and tasks of museum in contemporary society.
47
Horton, Sarah. "Where is the "Mexican" in "New Mexican"? Enacting History, Enacting Dominance in the Santa Fe Fiesta." Public Historian 23, no. 4 (2001): 41–54. http://dx.doi.org/10.1525/tph.2001.23.4.41.
Full textAbstract:
What are the implications of public commemorations of the Southwest's Spanish colonization, and do such celebrations sanction the conquest's continuing legacy of racial inequality? This paper examines such questions by way of an analysis of the Santa Fe Fiesta, an annual celebration of New Mexico's 1692 re-conquest from the Pueblo Indians by Spanish General Don Diego de Vargas. The Santa Fe Fiesta, which uses living actors to publicly re-enact the Pueblos' submission to Spanish conquistadors, may be analyzed as a variant of the "conquest dramas" the Spanish historically used to convey a message of Spanish superiority and indigenous inferiority. Indeed, New Mexico's All Indian Pueblo Council and its Eight Northern Pueblos have boycotted the Fiesta since 1977, and some Chicanos have complained the event's glorification of a Spanish identity excludes Latinos of mixed heritage. However, an examination of the history of the Fiesta illustrates that although it ritually re-enacts the Spanish re-conquest of New Mexico, it also comments obliquely on another--the Anglo usurpation of Hispanos' former control over the region. Although Anglo officials at the Museum of New Mexico revived the Fiesta as a lure for tourists and settlers in the early 20th-century, Hispanos have gradually re-appropriated the Fiesta as a vehicle for the "active preservation of Hispanic heritage in New Mexico." Thus an analysis of the Fiesta's history illustrates that the event conveys a powerful contemporary message; it is both part conquest theater and part theater of resistance to Hispanos' own conquest.
48
Прыткова, Е. Е., А. В. Сахарова, and Н. В. Хорошилова. "“Moscow” Letters by Giacomo Puccini to the Director Vladimir Alekseyev: First Publication." OPERA MUSICOLOGICA, no. 2 (May 1, 2021): 90–114. http://dx.doi.org/10.26156/om.2020.13.2.005.
Full textAbstract:
В статье впервые публикуется переписка Джакомо Пуччини и оперного режиссера Владимира Алексеева, ставшего одним из первых популяризаторов творчества композитора в России. Указанные письма впервые вводятся в научный оборот и таким образом дополняют корпус переведенного ранее эпистолярного наследия. В письмах, относящихся к 1913–1917 годам, затрагиваются разные аспекты творчества Пуччини, в том числе связанные с российской музыкальной культурой: постановка оперы «Девушка с Запада» в Москве, отклики на творчество Скрябина, Рахманинова и Стравинского, ситуация с постановкой опер Пуччини в Большом театре. Сканированные копии писем предоставлены для работы Российским национальным музеем музыки. С разрешения Музея в статье приводится фотокопия одного из писем Пуччини. This article is the first publication of the correspondence between composer Giacomo Puccini and opera director Vladimir Alekseyev, who became one of the first popularizers of Puccini’s work in Russia. It is the first time that these letters are introduced into scientific circulation and thus supplement the corpus of the previously translated letters of the composer. Letters from 1913 to 1917 touch upon various aspects of Puccini’s work, including those related to Russian musical culture, such as production of the opera La fanciulla del West in Moscow, responses to the works of Scriabin, Rachmaninov and Stravinsky, the situation with staging of Puccini’s operas at the Bolshoi Theater. Scanned copies of the letters are made available for work by the Russian National Museum of Music. With the permission of the museum, the article presents a photocopy of one of Puccini’s letters.
49
Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.
Full textAbstract:
This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
50
Breward, Christopher. "Exhibition Review: Tanks and Trousseaus: Fashion in the Theater of War—Forties Fashion and the New Look. Imperial War Museum, London." Fashion Theory 1, no. 3 (August 1997): 313–20. http://dx.doi.org/10.2752/136270497779640152.
Full text