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Artículos de revistas sobre el tema "Edinburgh International Festival (1950)"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Sorgenfrei, Carol Fisher. "The Edinburgh International Festival, and: The Edinburgh Fringe Festival (review)." Theatre Journal 58, no. 2 (2006): 320–24. http://dx.doi.org/10.1353/tj.2006.0136.

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2

Weiss, Alfred. "The Edinburgh International Festival, 1990." Shakespeare Quarterly 42, no. 4 (1991): 462–71. http://dx.doi.org/10.2307/2870464.

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3

Baxter, Peter, and Eileen Miller. "The Edinburgh International Festival, 1947-1996." Notes 53, no. 4 (1997): 1172. http://dx.doi.org/10.2307/899480.

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4

Watson, David. "The 63rd Edinburgh International Film Festival." British Journal of General Practice 59, no. 565 (2009): 624–25. http://dx.doi.org/10.3399/bjgp09x453945.

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5

Watson, David. "The 64th Edinburgh International Film Festival." British Journal of General Practice 60, no. 577 (2010): 628–29. http://dx.doi.org/10.3399/bjgp10x515278.

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6

Watson, David. "The 65th Edinburgh International Film Festival." British Journal of General Practice 61, no. 590 (2011): 572–73. http://dx.doi.org/10.3399/bjgp11x593956.

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7

Watson, David. "The 66th Edinburgh International Film Festival." British Journal of General Practice 62, no. 601 (2012): 436–37. http://dx.doi.org/10.3399/bjgp12x653723.

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8

Watson, David. "The 67th Edinburgh International Film Festival." British Journal of General Practice 63, no. 614 (2013): 488–89. http://dx.doi.org/10.3399/bjgp13x671768.

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9

Watson, David. "The 68th Edinburgh International Film Festival." British Journal of General Practice 64, no. 629 (2014): 640–41. http://dx.doi.org/10.3399/bjgp14x682957.

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10

Kowalska, Marta. "Edynburg jako przykład miasta literatury: Edinburgh International Book Festival." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 36 (July 5, 2018): 45–56. http://dx.doi.org/10.19195/2300-7729.36.3.

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Edinburgh as an example of a city of literature: Edinburgh International Book FestivalThe aim of the article is to introduce Edinburgh as a“city of literature”. Special attention was paid to the Edinburgh International Book Festival. The author analyses selected aspects of the famous book celebrations, highlighting their innovation and impact on the surrounding reality.

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11

Relich, Mario. "Reclaiming reality: Edinburgh International Festival Diary 2019." Scottish Affairs 29, no. 1 (2020): 98–110. http://dx.doi.org/10.3366/scot.2020.0308.

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12

Relich, Mario. "Close Encounters: Edinburgh International Festival Diary 2015." Scottish Affairs 25, no. 1 (2016): 122–27. http://dx.doi.org/10.3366/scot.2016.0114.

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13

Relich, Mario. "Crossing Divides: Edinburgh International Festival Diary 2017." Scottish Affairs 27, no. 1 (2018): 117–25. http://dx.doi.org/10.3366/scot.2018.0230.

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14

Relich, Mario. "Rembrandt's Windmill: Edinburgh International Festival Diary 2018." Scottish Affairs 28, no. 1 (2019): 102–11. http://dx.doi.org/10.3366/scot.2019.0267.

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15

Ranscombe, Peter. "Edinburgh International Science Festival: food for thought." Lancet Diabetes & Endocrinology 3, no. 4 (2015): 242. http://dx.doi.org/10.1016/s2213-8587(15)00048-0.

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16

Guerrero, Isabel. "‘My native English now I must forgo’: Global Shakespeare at the Edinburgh International Festival." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (2020): 57–74. http://dx.doi.org/10.1177/0184767820935129.

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This article focuses on productions of William Shakespeare’s plays in languages other than English throughout the history of the Edinburgh International Festival. It aims to demonstrate that there has been an evolution towards global Shakespeare at the Edinburgh International Festival, and that Shakespeare stagings have been both an active agent and a product of the interconnectedness of theatre cultures in international festivals. The article considers three categories that illustrate the evolution of Shakespeare festival productions: Shakespeare without his language, heteroglossic Shakespear

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17

Relich, Mario. "Reclaiming the Human: Edinburgh International Festival and Book Festival Diary 2023." Scottish Affairs 33, no. 1 (2024): 119–29. http://dx.doi.org/10.3366/scot.2024.0494.

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18

Watson, David. "Cannes Castoffs? The 62nd Edinburgh International Film Festival." British Journal of General Practice 58, no. 553 (2008): 588–89. http://dx.doi.org/10.3399/bjgp08x319855.

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19

Cousins, Mark. "August 2000, Architecture at the Edinburgh International Festival." Architectural Heritage 12, no. 1 (2001): 97–100. http://dx.doi.org/10.3366/arch.2001.12.1.97.

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20

Cousins, Mark. "August 2000, Architecture at the Edinburgh International Festival." Architectural Heritage 12, no. 12 (2001): 97–100. http://dx.doi.org/10.3366/arch.2001.12.12.97.

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21

Collins, Jane. "Report from the Edinburgh International Festival August 2015." Theatre and Performance Design 1, no. 3 (2015): 256–67. http://dx.doi.org/10.1080/23322551.2015.1099843.

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22

Harvie, Jennifer. "Canadian Drama and Performance in the UK: Featuring Quebec and a Canon." Canadian Theatre Review 105 (January 2001): 5–9. http://dx.doi.org/10.3138/ctr.105.001.

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According to Todd Marciniak, Cultural Industries Officer responsible for the performing arts in the Cultural Relations office at the Canadian High Commission, London, there is now three times as much production of Canadian drama and performance in Britain - by both British and Canadian companies - as there was ten years ago.2 Regularly visiting Canadian companies include theatre companies Ex Machina and One Yellow Rabbit, the circuses Cirque du Soleil and Cirque Eloize, dance companies La La La Human Steps and O Vertigo and children’s theatre companies Les Deux Mondes and Théâtre Sans Fil. Bri

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23

Relich, Mario. "Testing Times: Edinburgh International Festivals and International Book Festival Diary 2024." Scottish Affairs 34, no. 1 (2025): 93–103. https://doi.org/10.3366/scot.2025.0536.

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24

Knowles, Ric. "Seeking the International Intercultural: The Seventieth Edinburgh Fringe Festival." Canadian Theatre Review 177 (January 2019): 90–93. http://dx.doi.org/10.3138/ctr.177.015.

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25

Ramsey, J. Ross, and Todd Boyette. "“Science Festival” may not mean what we think it means: an analysis of how researchers and practitioners use this term." Journal of Science Communication 20, no. 07 (2021): A01. http://dx.doi.org/10.22323/2.20070201.

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The modern science festival movement has grown significantly since the Edinburgh International Science Festival launched in 1989. Hundreds of science festivals now occur annually and vary widely. This article examines how the term “science festival” is used within research and practice. We find that most research articles fail to describe the science festivals they study. A subsequent analysis of festival websites and other publicly available information confirms the wide variability of science festival formats, which suggests the need for descriptive information about science festivals in sch

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26

Buckley, Thea, and Saffron Walkling. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 11, no. 26 (2014): 81–110. http://dx.doi.org/10.2478/mopa-2014-0007.

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27

Knowles, Ric. "The Edinburgh Festival and Fringe: Lessons for Canada?" Canadian Theatre Review 102 (March 2000): 88–96. http://dx.doi.org/10.3138/ctr.102.016.

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A visit to the last ten days of the formidable Edinburgh International Festival and its famous Fringe – the ur-festivals for English language international festivals and fringes in Canada as elsewhere – provides the opportunity for some comparative musings on the cultural role played by such events in both Scotland and Canada. In a consciously provocative opinion piece in the Spring 1992 issue of Theatre Forum, Ritsaert ten Cate asked, “Festivals: Who Needs ‘Em?” In attempting to answer the question – “travel agents, who can offer package deals” is the closest he seems to get, quoting a “deadl

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28

Harvie, Jen. "Cultural Effects of the Edinburgh International Festival: Elitism, Identities, Industries." Contemporary Theatre Review 13, no. 4 (2003): 12–26. http://dx.doi.org/10.1080/1048680032000118378.

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29

Vois, Michel, and Kevin Eistob. "JEU, #70 mars 1994, Prornethée Enchaîné, Carta de Ajuste ou Nous N’Avons Plus Besoin de Calendrier, Original Soundtracks of Theatrical Performances." Canadian Theatre Review 85 (December 1995): 79–80. http://dx.doi.org/10.3138/ctr.85.017.

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Over the past decade, translations of plays by Michel Tremblay and Robert Lepage have given Québécois theatre a firm international foothold. The Guid Sisters(the Scots translation of Tremblay’s Les Belles Soeurs) earned critical praise at the Edinburgh Festival (1987); equally enthusiastic reviews supported Lepage’s Dragon Trilogy at the Los Angeles Theatre Festival (1990) and his Needles and Opium at the Chicago International Theatre Festival (1994). As the renown of this identity-conscious region’s dramatic repertoire has grown abroad, Quebec’s theatres have been producing plays by overseas

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30

Relich, Mario. "‘Seeing everything in a new light’: Edinburgh International Book and Arts Festival Diary 2020." Scottish Affairs 30, no. 1 (2021): 122–33. http://dx.doi.org/10.3366/scot.2021.0353.

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31

Shevtsova, Maria. "Reasons for Joy and Reflection: Engaging with Shakespeare at the Craiova Festival." New Theatre Quarterly 28, no. 4 (2012): 352–62. http://dx.doi.org/10.1017/s0266464x12000656.

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The Craiova International Shakespeare Festival has been a major touchstone in Europe for theatre artists, theatregoers, and scholars for nearly two decades. This overview briefly situates the Festival historically, indicating the ideals and perspectives developed for it by its founder Emil Boroghina, former director of the National Theatre of Craiova. It identifies as well a number of the Festival's many highlights over the years, Romanian as well as international, and focuses on examples from the 2012 programme, including Silviu Purcarte's The Tempest and Robert Wilson's Shakespeare's Sonnets

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32

Schalk, Meike, and Apolonija Sustersic. "Taking care of public space." Architectural Research Quarterly 13, no. 2 (2009): 141–50. http://dx.doi.org/10.1017/s1359135509990236.

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Through an examination of the public art project Garden Service, in this text we explore possibilities of and obstacles to practices of agency. The project was commissioned by the art institution The Common Guild in Edinburgh for the exhibition Jardins Publics, which took place in connection with the Edinburgh International Festival in summer 2007. It was based on the participation of a community and the communication between different actors, from institutions and associations to individual local residents, communication which included solving conflicts as well as building partnerships.

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33

Brogden, William. "The Architecture of the Scottish Renaissance, RIAS Edinburgh International Festival Exhibition, 1990." Architectural Heritage 2, no. 1 (1991): 122–24. http://dx.doi.org/10.3366/arch.1991.2.1.122.

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34

Brogden, William. "The Architecture of the Scottish Renaissance, RIAS Edinburgh International Festival Exhibition, 1990." Architectural Heritage 2, no. 2 (1991): 122–24. http://dx.doi.org/10.3366/arch.1991.2.2.122.

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35

Stanfield, Peter. "Notes Toward a History of the Edinburgh International Film Festival, 1969–77." Film International 6, no. 4 (2008): 62–71. http://dx.doi.org/10.1386/fiin.6.4.62.

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36

Barron, Paul, and Ivana Rihova. "Motivation to volunteer: a case study of the Edinburgh International Magic Festival." International Journal of Event and Festival Management 2, no. 3 (2011): 202–17. http://dx.doi.org/10.1108/17582951111170281.

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37

LeCompte, Elizabeth, Kate Valk, Ari Fliakos, and Maria Shevtsova. "A Conversation on The Wooster Group's Hamlet." New Theatre Quarterly 29, no. 2 (2013): 121–31. http://dx.doi.org/10.1017/s0266464x13000237.

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This conversation took place during the Gdansk Festival, 1–10 August 2009, where The Wooster Group performed its internationally acclaimed Hamlet (2006), directed by Elizabeth LeCompte. The conversation, led by Maria Shevtsova and edited by her for publication, was part of the conference organized under the auspices of the Festival by Jerzy Limon, the Festival's director. Here LeCompte and two performers from the company, Kate Valk and Ari Fliakos, discuss how they generated the work, and develop their thoughts in answers to questions from the audience. Later this year The Wooster Group will p

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38

Hague, Cliff. "The Festivalisation of Edinburgh: constructing its governance." Scottish Affairs 30, no. 1 (2021): 31–52. http://dx.doi.org/10.3366/scot.2021.0351.

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Edinburgh has forged a global brand as the Festival City. The international cultural festival began in 1947, but was contentious in the city for a long period. In the 1990s a wider array of festivals were promoted by the local council. Then in a third stage, from the mid-1990s the festivals became anchored in the city's tourism offer, and achieved year upon year of growth, to widespread acclaim by the cultural and tourism industries and local politicians. A shared corporate culture was built in which national and local political and cultural bodies planned and delivered change through stakehol

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39

Persson, Magnus. "Litteraturfestivalen som offentlighet." Tidskrift för litteraturvetenskap 49, no. 4 (2019): 79–87. http://dx.doi.org/10.54797/tfl.v49i4.6547.

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The Literature Festival as a Public Sphere Literary festivals are becoming increasingly popular. They can, for instance, be dedicated to regional or world literature, a single author or a genre, literature in general or a specific theme. Despite their growing importance as public spheres, where an intense production and distribution of literary value take place, little scholarly attention has been paid to them. A common denominator for many festivals is that they have strong connections to the market, the state, and the broader cultural sphere of society. In this article I approach liter

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40

Kelly, Richard. "Film: Bravely in harm's way: A report from the 55th Edinburgh International Film Festival." Critical Quarterly 43, no. 4 (2001): 94–97. http://dx.doi.org/10.1111/j.0011-1562.2001.00394.x.

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41

Bowler, Laura. "Donnacha Dennehy The Last Hotel, Wide Open Opera with Crash Ensemble, Edinburgh International Festival." Tempo 70, no. 275 (2015): 91–92. http://dx.doi.org/10.1017/s004029821500073x.

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When greeted by a deconstructed, open set of brutal bleakness (designed by Jamie Vartan), haunted by the waste of the night before – a pink high-heeled shoe, empty coat hangers and discarded plastic cups – one is made immediately aware of the potency of Enda Walsh's theatrical aesthetic. There is a lone orange balloon offering a tragic echo of a party. Underscored with silence, The Hotel Servant (played by Walsh's long-term collaborator Mikel Murfi) enters and cleans the blood from the stained hotel room floor, and does so with a charisma equal to that of Michael Gambon in the opening scene of

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42

Reason, Matthew. "Archive or Memory? The Detritus of Live Performance." New Theatre Quarterly 19, no. 1 (2003): 82–89. http://dx.doi.org/10.1017/s0266464x02000076.

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The positive valuation of theatre as live performance, and therefore also its transience, is frequently accompanied by the urgent expression of the need to counter that transience by means of documentation. This desire to ‘save’ theatre reaches its most fervent expression (and hope of authority and permanence) with the live performance archive. Archive theory, however, now insists on the instability and uncertainty of the archive, which not only documents but also constructs its subject. In this article, Matthew Reason argues that, by tracing comparisons between archives and human memory, it i

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43

Zhu, Biyun. "The Arts and International Relations: The Evolving Identity of the Edinburgh International Festival in the Cold War Era." Journal of Arts Management, Law, and Society 49, no. 3 (2018): 203–18. http://dx.doi.org/10.1080/10632921.2018.1473312.

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44

MacDonald, Richard. "Evasive Enlightenment:World Without Endand the Internationalism of Postwar Documentary." Journal of British Cinema and Television 10, no. 3 (2013): 452–74. http://dx.doi.org/10.3366/jbctv.2013.0150.

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This article explores the discursive theme of documentary's crisis and renewal through internationalism as it evolved at the Edinburgh International Film Festival, established in 1947. During its first decade Edinburgh was the most significant forum for discussion on the future of documentary as an international genre, a debate to which all the key figures of the prewar generation contributed, as critics, panelists, advisors, speakers and film-makers. Amid a sense of crisis for British documentary, marked by the perceived dominance of instructional film-making of limited social and aesthetic a

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45

O'Gorman, Siobhan. "Remembering Molly MacEwen: Sue Harries and Alasdair MacEwen in Conversation." Review of Irish Studies in Europe 4, no. 1 (2021): 43–65. http://dx.doi.org/10.32803/rise.v4i1.2643.

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Molly MacEwen’s design career took off after serving as Micheál mac Liammóir’s apprentice at the Dublin Gate during the mid-1930s and following her design work on the 1938 Empire Exhibition in Glasgow. MacEwen went on to make a significant contribution to Irish and Scottish theatre design that has received little recognition in existing theatre scholarship. Illustrated by images of materials from (for the most part) the Scottish Theatre Archive’s Molly MacEwen collection (1948-1961), this article comprises an introduction to MacEwen, followed by a composite of selected conversations from inter

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46

Sutton-Hibbert, Jeremy. "Toni Morrison, American Nobel and Pulitzer prize winning author, editor and professor. Edinburgh International Book Festival." Women's Studies 52, no. 2 (2023): 153. http://dx.doi.org/10.1080/00497878.2023.2184998.

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47

Averyanova, Ekaterina A. "The Komsomol of Mordovia held festivals of youth and students in the second half of the 1950s." Humanitarian: actual problems of the humanities and education 20, no. 2 (2020): 162–73. http://dx.doi.org/10.15507/2078-9823.050.020.202002.162-173.

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Introduction. Festival forms of socio-cultural behavior, as an algorithm for displaying agitation, educational, and entertainment functions during mass events, have recently become the object of study. The need for scientific generalization creates an environment of mutual understanding to strengthen intercultural dialogue, have highlighted the attention to historical experience of such cross-cultural events, for analysis of strategies and mechanisms of translation of information and forms of behavior to create understanding in society and among the participants, promoting a positive image of

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48

Ruban, Viktor. "Contemporary Dance Artists' Projects as a Tool of Cultural Diplomacy of Ukraine Under Martial Law." Issues in Cultural Studies, no. 42 (November 13, 2023): 270–85. https://doi.org/10.31866/2410-1311.42.2023.293800.

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<em>The aim of the article </em>is to present and analyse the events and projects of contemporary dance in Ukraine that took place after the beginning of the full-scale invasion in the context of cultural diplomacy, to determine their cultural and historical impact, taking into account the institutional dimension. <em>Research results</em>. The article documents and presents various forms of international activity of Ukrainian contemporary dance representatives, as well as, applies a systematic and structural method to the review of the presented cases, taking into account the instit

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49

Starikova, Mariia N., Konstantin P. Kurylev, and Larisa A. Chereshneva. "Cooperation Between the USSR and India in the 1950-1960s: The First Youth and Student Visits." Vestnik RUDN. International Relations 24, no. 1 (2024): 80–91. http://dx.doi.org/10.22363/2313-0660-2024-24-1-80-91.

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In the 21st century, the Russian Federation and the Republic of India have great scientific and educational potential. The particularly privileged strategic partnership between the two states is aimed, among other things, at the development and innovations of scientific and educational cooperation, which has stable traditions laid down in the second half of the last century. It was during this period that the first connections were established between students and youth of the two countries. The VI World Festival of Youth and Students, held in Moscow in 1957, was the starting point for buildin

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50

Fouz-Hernández, Santiago, and Esther Gimeno Ugalde. "Estudios ibéricos online: El futuro de las iniciativas virtuales. Informe del encuentro en la sede del Instituto Cervantes (Madrid, 24 de octubre 2022)." International Journal of Iberian Studies 36, no. 2 (2023): 165–76. http://dx.doi.org/10.1386/ijis_00100_7.

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In its third year of existence, Pleibéricos, an online platform focused on launching and promoting new books in the field of Iberian ṣtudies, held an event at the headquarters of the Cervantes Institute in Madrid on 24 October 2022. The aim of this first in-person meeting was to start conversations with other initiatives in the field that, like Pleibéricos, were founded during the COVID-19 pandemic or that had to move their operations online or adopt a hybrid format during that time. The founders and coordinators of the following six platforms talked about their projects: the online research s

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