Bibliografías temáticas / Theater der Jugend (Vienna, Austria)

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Literatura académica sobre el tema "Theater der Jugend (Vienna, Austria)"

Autor: Grafiati
Publicado: 28 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Theater der Jugend (Vienna, Austria)"

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Platelle, Fanny. "Le théâtre populaire viennois des XVIIIe et XIXe siècles, entre marges et centre(s)." Austriaca 81, no. 1 (2015): 17–35. http://dx.doi.org/10.3406/austr.2015.1193.

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The Viennese Folk Theatre in the 18th and 19th centuries : between periphery and centre For a long time, Viennese Folk Theatre was regarded as a regional and minor genre relegated to the margins of legitimate theatre. By underlying the many exchanges between Folk Theatre and European theatre (and literature in general) of the 18th and particularly 19th centuries, this paper demonstrates how the main suburban stages (the Leopoldstädter Theater, then the Carltheater, and the Theater an der Wien) made of Vienna in the 19th century an European centre for vaudeville and operetta, alongside Paris, L
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2

Antoine, Annette. ",,Werther“ in Wien. : Joseph Ferdinand Kringsteiners kritische Lokalposse ,,Werthers Leiden“ auf dem Wiener Vorstadttheater." Zeitschrift für Germanistik 34, no. 2 (2024): 324–36. http://dx.doi.org/10.3726/92174_324.

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Abstract Die Werther-Wirkung war ein europaweites Phänomen und erfasste auch Österreich. Die Bedingungen insbesondere der Theaterlandschaft in Wien ergaben eine spezifische Aufnahme, die im Beitrag anhand eines konkreten Beispiels nachgezeichnet werden soll – der Lokalparodie Werthers Leiden von Joseph Ferdinand Kringsteiner, Erfolgsstück am Theater in der Leopoldstadt bis zu Nestroys Zeiten. Neben possenhaften Elementen zeigen sich auch Querverbindungen zur aufklärerisch-satirischen Tradition, inklusive Sozialkritik.The impact of Werther was a Europe-wide phenomenon and also affected Austria.
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3

Burri, Michael. "Austrian Festival Missions after 1918: The Vienna Music Festival and the Long Shadow of Salzburg." Austrian History Yearbook 47 (April 2016): 147–66. http://dx.doi.org/10.1017/s0067237816000114.

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Rising from the ruins of a post-1918 Austria shed of its monarchical leadership and much of its former territory, the Salzburg Festival acquired a symbolic authority during the First Austrian Republic that continues to ensure its privileged place in Austrian politics and culture to this day. At the core of this privileged place are two signature legacies that, while grounded in the festival's prewar history, fortified a particular agenda of the Second Austrian Republic in defining Austrian history and national identity in the decades following World War II. The first, as expressed in 1919 by t
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4

Szilágyi, Ana. "From ‘musique concrète’ and Acousmatic Art to the ‘New Music Theater’. The Austrian Composer Dieter Kaufmann." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 1 (2024): 133–43. http://dx.doi.org/10.24193/subbmusica.2024.spiss1.08.

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This article follows the way the Austrian composer Dieter Kaufmann has gone with his conceptions taken from musical and extra-musical domains, as literature, visual arts, religion and politics, describing some of his theatrical works. For him the function of music is to improve the society and therefore his works are a critic to politics or to religion. Having studied in Paris by Olivier Messiaen, Pierre Schaeffer, François Bayle and René Leibowitz, he contributed to the development of the electronic music in Austria with his creation and his teaching of electroacoustic composition at the Univ
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5

Koehler, Jonathan. "“Soul Is But Harmony”: David Josef Bach and the Workers' Symphony Concert Association, 1905–1918." Austrian History Yearbook 39 (April 2008): 66–91. http://dx.doi.org/10.1017/s0667237808000059.

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Ifhigh culture, asTheodorAdornoonce proposed, promises a reality that does not exist, why, at the fin de siècle, did it hold such great attraction for Central Europe's populist politicians who were most attuned to the realities of everyday life? The answer, at least for imperial Austria, is that those politicians believed high culture to possess an integrative social function, which forced them to reconcile notions of “high” culture with “mass” culture. This was particularly true in Vienna, where the city's public performance venues for art, music, stage theater, and visual art stood as monume
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Wilmer, S. E. "Cultural Encounters in Modern Productions of Greek Tragedy." Nordic Theatre Studies 28, no. 1 (2016): 15. http://dx.doi.org/10.7146/nts.v28i1.23969.

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The exiled character in need of asylum is a recurrent theme in ancient Greek tragedy. In many of these plays, we see uprooted and homeless persons seeking sanctuary, and for the ancient Greeks, hospitality was an important issue. Many of these plays have been updated to comment on the current social and political conditions of refugees and often reflect on the notion of hospitality, something which both Emmanuel Levinas and Jacques Derrida considered to be fundamental to ethics.
 Recently there has been a series of demonstrations and occupations of public spaces by asylum seekers that has
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7

Wark, McKenzie. "Toywars." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2179.

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I first came across etoy in Linz, Austria in 1995. They turned up at Ars Electronica with their shaved heads, in their matching orange bomber jackets. They were not invited. The next year they would not have to crash the party. In 1996 they were awarded Arts Electronica’s prestigious Golden Nica for web art, and were on their way to fame and bitterness – the just rewards for their art of self-regard. As founding member Agent.ZAI says: “All of us were extremely greedy – for excitement, for drugs, for success.” (Wishart & Boschler: 16) The etoy story starts on the fringes of the squatters’ m
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Libros sobre el tema "Theater der Jugend (Vienna, Austria)"

1

Bauer, Gerald Maria. "Neue Wege": 75 Jahre Theater der Jugend in Wien. Lit, 2008.

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2

Yates, W. E. Theatre in Vienna: A critical history, 1776-1995. Cambridge University Press, 1996.

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3

Evelyn, Schreiner, Birbaumer Ulf, and Volkstheater (Vienna Austria), eds. 100 Jahre Volkstheater: Theater, Zeit, Geschichte. J&V, 1989.

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4

Piplits, Erwin. Serapions Theater: Verwandlung und Wirklichkeit. Böhlau, 1998.

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5

Heindl, Gottfried. Die Purpurschmiere: Eine Geschichte des Wiener Burgtheaters in Anekdoten. P. Neff, 1990.

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6

Huemer-Strobele, Christiane. Das Theater in der Josefstadt: Eine Reise durch die Geschichte eines der ältesten Theater Europas. Picus Verlag, 2011.

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7

Dangl, Michael. Das Theater in der Josefstadt: [legendäre Geschichten und unvergessene Stars]. Brandstätter, 2013.

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8

Link, Dorothea. The National Court Theatre in Mozart's Vienna: Sources and documents, 1783-1792. Clarendon Press, 1998.

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9

Hönigmann-Tempelmayr, Alexandra. Burg Stars: 200 Jahre Theaterkult. Brandstätter, 2012.

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10

Hofmann-Wellenhof, Andrea. "... das Stück scheint für die Darstellung auf dieser Bühne nicht geeignet.": Schriftsteller und ihre am Burgtheater eingerichteten Theaterstücke 1850-1870. Praesens, 1996.

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Capítulos de libros sobre el tema "Theater der Jugend (Vienna, Austria)"

1

Knight, Robert. "Friedrich Stadler, ed., Vertriebene Vernunft: Emigration und Exil österreichischer Wissenschaft, 2 vols. (Vienna-Munich: Jugend und Volk, 1987 - 1988)." In Austria in the New Europe. Routledge, 2021. http://dx.doi.org/10.4324/9780429336041-14.

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2

Kühschelm, Oliver, and Gertrude Langer-Ostrawsky. "Theater auf dem flachen Land. Bürgerliche Öffentlichkeit zwischen Provinz und Metropole." In Niederösterreich im 19. Jahrhundert, Band 2: Gesellschaft und Gemeinschaft. Eine Regionalgeschichte der Moderne. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh02.25.

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Theatre in the Countryside. The Middle Classes and the Public Sphere between the Provinces and the Metropolis. The Archduchy of Austria below the Enns is particularly suited to tracing the development of a provincial theatrical landscape and investigating its relation to the metropolis, since in the crownland’s centre lay Vienna, one of the largest cities in the world around 1900. The article therefore ex- amines the formation of a bourgeois cultural sphere in those parts of Lower Austria that were then known as the “flat countryside” and which roughly correspond to today’s federal state. Duri
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3

Klinger, William, and Denis Kuljiš. "The Castle of Lead." In Tito's Secret Empire. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197572429.003.0031.

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This chapter mentions Field Marshal Alexander, Supreme Allied commander of the Mediterranean Theater of Operations, who was sent by Winston Churchill to find out Marshal Tito's intentions in Italy. It details how Tito showed Alexander the dispositions on the stationary Stem Front while concealing his far-reaching initiative on both sides of the Adriatic. It also explains Alexander's requirement for a land corridor for advancing from Trieste to Vienna, suggesting Anglo-American occupation of all the areas west of the Italian–Yugoslav prewar border. The chapter analyzes Tito's offer that Churchi
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