Qinqiang Opera Drama Costume Connotation and Aesthetic
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C H R I S T Y &
C h r i s t y & C ooC Since 1773 History and Legacy by Irra K With special thanks to The Stockport library and hat museum FamilyFamily Six reigns of Royals, and Eight generations of the Christy family have forged the brand of Christys London since it’s foundation by Miller Christy in 1773, 237 years ago Following his apprenticeship to a Hatter in Edinburgh, Miller Christy created a company that would survive for generations, outliving thousands of hat makers across the former British Empire: by 1864 for example there were 53 hatting firms in Stockport alone. Throughout hundreds of years, the factory was still managed by direct descendants of the founder of the Firm ValuesValues 1919 Christys readily registered their own The Christy Collection in Stockport is appreciation testament to the influence the company of workers’ had. At its height, it employed 3000 excellent local people leaving a valuable legacy service < - During World War II, hats were not rationed in order to boost morale, and Christys supported the effort within their family-run company, effectively running it like an extended family Celebrating Victory as well as mourning the fallen at the -> end of World War I Trade MarksTrade Marks The Stockport Collection With business of Christy Papers includes a expanding to 500 page booklet detailing foreign lands, trade marks registered safeguarding around the world at the the insignia in height of the British Empire. all it’s forms These involve registering the full name, letters 'C', it’s became vital – insignia, shape, and colours as we shall see In the early days, < - several variations - > of company marks and insignia were circulated, later consolidating into the Christy crown and heraldry which is now recognised the world over Trade Marks iiiiTrade In many territories, Trade Marks were either disputed or had to be re-registered. -
Hwang, Yin (2014) Victory Pictures in a Time of Defeat: Depicting War in the Print and Visual Culture of Late Qing China 1884 ‐ 1901
Hwang, Yin (2014) Victory pictures in a time of defeat: depicting war in the print and visual culture of late Qing China 1884 ‐ 1901. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18449 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. VICTORY PICTURES IN A TIME OF DEFEAT Depicting War in the Print and Visual Culture of Late Qing China 1884-1901 Yin Hwang Thesis submitted for the degree of Doctor of Philosophy in the History of Art 2014 Department of the History of Art and Archaeology School of Oriental and African Studies, University of London 2 Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. -
DRAMA KIDS COSTUME SUGGESTIONS for “PARADESIA” Dear Parents: Children Doing “Paradesia” Need to Dress As Though They Live on a Tropical Island
DRAMA KIDS COSTUME SUGGESTIONS FOR “PARADESIA” Dear Parents: Children doing “Paradesia” need to dress as though they live on a tropical island. Our end of the year performance will have a Hawaiian feel. Our performance weekend is May 13-14. They will have a dress rehearsal in class the week prior to the performance. They will need to “show” their costume to their teacher 2 weeks prior to their performance (you can text or email us a picture or bring it in to the class). Then, on their show date, they will need to arrive at the Glenridge Theatre in costume and make- up for their final dress rehearsal and performance. Look at Wal-Mart, Walgreens, Goodwill/Salvation Army, Party Stores, swim stores, on-line, or consignment stores for costumes pieces. Call (941) 922-8121 if you have any questions. Girls: Girls should wear bathing suits with a floral/tropical print or bright color. They should wear a sarong, wrap-around type skirt or large scarf/fabric piece tied around their waist or around neck so as to create an “island-type” skirt/dress. They may also wear a Hawaiian sundress. They can accessories with leis, flowers in their hair, anklets and shell necklaces. *NO GRASS SKIRTS OR COCONUTS. Boys: Boys should wear a bright, tropical print bathing suit or shorts. They should go shirtless, but may wear a Hawaiian print shirt if they are self-conscious or matching tank top. They can also wear shell necklaces, anklets and leis to accessorize. Bare Feet: All children will perform with bare feet. -
Accat2013.Pdf
Allens Crowns Tiaras A103 1 1/2" Tall A107 1 3/8" Tall A113 1 1/2" Tall Little Princess Tiara* Small Loop Tiara Princess Tiara* A122 1 5/8" Tall A123 2" Tall A133 1 1/4" Tall Small Heart Tiara Royal Princess Tiara* Looping Tiara A162 2" Tall A350 2" Tall AA240 2 1/2" Tall Fleur Di Lis Mardi Gras Tiara* Spring Tiara† ** Interlocking Loop Tiara B102 1 1/2" Tall B110 1 3/8" Tall B120 1 1/2" Tall Loop Tiara Curls & Loop Tiara Loop Tiara* ** Made from cast metal. † Jewel insert available in multiple colors. * Made from cast metal, capped with genuine Austrian rhinestone crystal by Swarovski™. 2 Allens Crowns B149 2" Tall C100 1 1/2" Tall C102 1 5/8" Tall Valentine's Day Tiara* Little Aztec Tiara* Loops Tiara C103 1 3/4" Tall C104 1 1/2" Tall C112 1 5/8" Tall Peak & Loop Tiara Loops & Heart Tiara Three Loops Tiara C117 1 3/8" Tall C206 1 5/8" Tall C301 1 7/8" Tall Five Loops Tiara Shooting Star Tiara Small Jewel Tiara† C350 3" Tall D109 2" Tall D117 1 5/8" Tall Spring Tiara†** Loops & Pearl Tiara Three Loops with Pearls Tiara ** Made from cast metal. † Jewel insert available in multiple colors. * Made from cast metal, capped with genuine Austrian rhinestone crystal by Swarovski™. 3 Allens Crowns D121 2 1/4" Tall E110 2" Tall E113 3" Tall Teardrop & Loops Tiara Peak Tiara Queen Tiara* F100 1 7/8" Tall G111 2 1/4" Tall G120 2" Tall Heart & Loops Tiara Peaked Heart Tiara Loop Tiara* G127 2 3/8" Tall J100 2" Tall J124 2 5/8" Tall Basketweave Tiara Heart Tiara Elevated Star Tiara J168 2" Tall K100 2 1/4" Tall K101 1 7/8" Tall Stars Tiara* Hearts & Loops Tiara Tie the Knot Tiara * Made from cast metal, capped with genuine Austrian rhinestone crystal by Swarovski™. -
Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
The Rights of War and Peace Book I
the rights of war and peace book i natural law and enlightenment classics Knud Haakonssen General Editor Hugo Grotius uuuuuuuuuuuuuuuuuuuu ii ii ii iinatural law and iienlightenment classics ii ii ii ii ii iiThe Rights of ii iiWar and Peace ii iibook i ii ii iiHugo Grotius ii ii ii iiEdited and with an Introduction by iiRichard Tuck ii iiFrom the edition by Jean Barbeyrac ii ii iiMajor Legal and Political Works of Hugo Grotius ii ii ii ii ii ii iiliberty fund ii iiIndianapolis ii uuuuuuuuuuuuuuuuuuuu This book is published by Liberty Fund, Inc., a foundation established to encourage study of the ideal of a society of free and responsible individuals. The cuneiform inscription that serves as our logo and as the design motif for our endpapers is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 b.c. in the Sumerian city-state of Lagash. ᭧ 2005 Liberty Fund, Inc. All rights reserved Printed in the United States of America 09 08 07 06 05 c 54321 09 08 07 06 05 p 54321 Frontispiece: Portrait of Hugo de Groot by Michiel van Mierevelt, 1608; oil on panel; collection of Historical Museum Rotterdam, on loan from the Van der Mandele Stichting. Reproduced by permission. Library of Congress Cataloging-in-Publication Data Grotius, Hugo, 1583–1645. [De jure belli ac pacis libri tres. English] The rights of war and peace/Hugo Grotius; edited and with an introduction by Richard Tuck. p. cm.—(Natural law and enlightenment classics) “Major legal and political works of Hugo Grotius”—T.p., v. -
Official Selection 16Th
Prefeitura da Cidade do Rio de Janeiro, Secretaria Municipal de Cultura presents official selection 16th 2021 24 MAY to 13 JUNE >> https://animarte.kinow.tv << INTERNATIONAL STUDENTS MAXI official selection International Students th Maxi 16 2021 SINGAPORE ENGLAND ESTONIA INDIA TAIWAN A Chameleon Story A Flea in a Jar A Kiss for a Dead Man A Little More Blue A Mysterious Hat Kamal Ayesha Fathima, Ong Shu Yi Vicky Carr Anna Dvornik Sugandha Bansal Du, Yen-Ting NTU - Nanyang Technological UCA - University for the Creative Arts EKA - Estonian Academy of Arts MIT Art, Design and Technology TNUA - Taipei National University University University of the Arts ISRAEL / JAPAN RUSSIA FRANCE ENGLAND ENGLAND / TAIWAN A Tasty Fish A Warm Salty Wind Adagio Alma Alona Chihiro Tazuro Maria Korzhova, Maria Laricheva, Guillaume Oury Rola Hafez, Francesco Cordari, Kea Xie Alexandra Megerdichian The School of Visual Theater Sofia Petrova LISAA - L’Institut Supérieur des Arts UAL - University of the Arts London Animatseh Appliqués Escape Studios official selection International Students th Maxi 16 2021 FRANCE USA ENGLAND ENGLAND / USA CROATIA Alone a Wolf’s Winter An Almost Perfect Any Instant Whatever Arachnarche Arbor Inversus Damien Grellety, Victor Dumur, Carla Vacuum Emma Jordan Nikolina Žabčić Humbert, Gaël Bourdeu, Clara Malleviale, Michelle Brand Marine Vilcot, Rebecca Belle, Bérénice Lefevre Andre Huang RCA - Royal College of Art AUB - Arts University Bournemouth ALU - Academy of Fine Arts Zagreb ESMA - École Supérieure des Métiers SJSU - San José -
The Structure of Plays
n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago. -
The Lining of Futou (Chinese Traditional Male Headwear) Is Called As Jinzi, Whose Produc
G Model CULHER-3209; No. of Pages 9 ARTICLE IN PRESS Journal of Cultural Heritage xxx (2017) xxx–xxx Available online at ScienceDirect www.sciencedirect.com Original article Investigating the materials and manufacture of Jinzi: The lining of Futou (Chinese traditional male headwear) from the Astana Cemeteries, Xinjiang, China a,b b,∗ b c b Huijuan Mai , Yimin Yang , Hongen Jiang , Bo Wang , Changsui Wang a Key Laboratory of Vertebrate Evolution and Human Origins of Chinese Academy of Sciences, Institute of Vertebrate Paleontology and Paleoanthropology, Chinese Academy of Sciences, Beijing 100044, People’s Republic of China b Department of Archaeology and Anthropology, University of Chinese Academy of Sciences, Beijing 100049, People’s Republic of China c Xinjiang Uygur Autonomous Region Museum, Ürümchi 830000, People’s Republic of China a r t i c l e i n f o a b s t r a c t Article history: Headwear research is an integral part of costume study, which is regarded as a cultural symbol of human Received 22 September 2016 society. In China, the lining of Futou (Chinese traditional male headwear) is called as Jinzi, whose produc- Accepted 28 February 2017 tion information is little known. This paper focuses on the analysis of materials and manufacture of Jinzi, Available online xxx found in Astana Cemeteries (dated from about the 3rd to the 9th centuries C.E.), Turpan Basin, Xinjiang, China. The fibers of Jinzi were identified by FTIR (Fourier Transform Infrared Spectroscopy), Light Micro- Keywords: scope Examination and Drying-Twist Test; while the black pigment was characterized through Raman Headwear Spectroscopy. -
Western Opera and International Practices in the Beijing National Centre for the Performing Arts
ENCATC JOURNAL OF CULTURAL MANAGEMENT & POLICY || Vol. 7, Issue 1, 2017 || ISSN 2224-2554 “Originated in China”: Western opera and international practices in the Beijing National Centre for the Performing Arts Silvia Giordano Management and Development of Cultural Heritage, IMT Institute for Advanced Studies, Lucca, Italy [email protected] Submission date: 19.03.2017 • Acceptance date: 15.06.2017 • Publication date: 10.12.2017 ABSTRACT The international reputation of Western operas – with artists and producers moving across the world’s opera houses – has become even more global in recent years. Nevertheless, the field of opera has never been analyzed in terms of strategies Keywords: to foster this vocation in line with the development of the emerging markets outside Europe. China is one of the most flourishing among them in terms of the creation of Western opera grand theaters able to perform Western opera together with a strong indigenous op- era tradition. Due to the novelty of such appealing context, a case study analysis would China provide an evidence-based account of the questions raised as to how this ambiva- lence is managed: How does a Chinese opera house performing Western opera find Globalization its legitimacy in the international arena? Which are the artistic and production strate- gies fitting under the definition of international practices? Why is the Chinese context Cultural identity appealing to the Western opera industry? This paper, therefore, aims to address such questions by examining the international practices of the National Centre for Perform- Internationalization ing Arts (NCPA) in Beijing, in view of the process of building a reputation in the global opera network, with a particular focus on the artistic program, casting choices, the attractive power of the theatre and the exchange of expertise between Western and Chinese operatic contexts. -
The Art of Facial Makeup in Chinese Opera
Rochester Institute of Technology RIT Scholar Works Theses 8-28-1997 The Art of facial makeup in Chinese opera Hsueh-Fang Liu Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Liu, Hsueh-Fang, "The Art of facial makeup in Chinese opera" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute of Technology A Thesis Submitted To The Faculty Of The College Of Imaging Arts And Sciences In Candidacy For The Degree Of Master Of Fine Arts Title The Art of Facial Makeup in Chinese Opera By Hsueh-Fang Liu August 28, 1997 Chief Advisor: Nancy Ciolek -'Si(";-NATUR[ Ha~ue Associate Adviser: lim Ver SIC-A1U"-' ------------------------ --OATEfii..--ZZ C;-r6--Q 7 Associate Adviser: Robert Keou~h DATE" --------- --- --_ _- ------- . p~_/!:~_[z Chairperson: Nancy Giolek __ DATE I, Hsueh-Fan~ Liu, hereby grant permission to the Wallace Memorial Library of RIT to reproduce my thesis in whole or in part_ Any reproduction will not be commercial use or profit. II Dedication to: My husband, Wei-Chang Chung who have supported me in my graduate studies, especially in my thesis work. Special thanks to my thesis committee: Nancy Ciolek, )im Ver Hague, & Patrick Byrnes for all of their knowledge and assistance. Robert Keough for being very helpful in many ways.. -
Making the Palace Machine Work Palace Machine the Making
11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise).