Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna Via Japan

Total Page:16

File Type:pdf, Size:1020Kb

Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna Via Japan ReVisions Musicals in Post- Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan Rina Tanaka Published on: Mar 14, 2017 Updated on: Jan 04, 2018 ReVisions Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan 1. Introduction The end of the globalization era meant the beginning of new methods, regardless of regional predominance. Today, a new style of performances is coming from non-English-speaking countries even in the genre of musical, which is originally from English-speaking countries. However, it has been overlooked due to the commercial or even mass productive nature of musicals (McMillin 2006, pp. 28- 29), which has been a dominant pattern in musicals for decades[1]. How have musicals been changing in the post-globalization era? This paper analyzes the interactions established between Vienna and Japan by musicals since the 1990s as a possible illustration of the post- global theater. It consists of the following four parts. Section 1 presents two key concepts of this paper, “post-global” and “interweaving cultures in performances” as well as the current situation regarding musicals. Section 2 deals with the short history of musicals in Vienna in the post-war era until the launch of the first successful “Wiener [Viennese]” musical Elisabeth. As Vienna started taking its musical productions to the world, Japan was the first importer of Elisabeth. Section 3 considers two adaptations of Elisabeth in Japan as examples, indicating the reactions of other countries as well as Vienna, including the “re-import” phenomenon. After the great popularity of the Wiener musicals in Japan and the successive adaptations in the world, a new type of co-production developed in Japan. Section 4 describes a musical Marī Antowanetto [Marie Antoinette] since 2006 as an example of this co-production. The final section outlines the main conclusions and identifies the phenomenon of the interactions that started in Vienna and later developed between Vienna and Japan as an illustration of performances in the post- globalization era[2]. 1-1. Theoretical consideration 1-1-1. Post-globalization In general, the post-global era today arose “out of a shared story about the failure of the master narrative of globalization” (Sussman & Groves 2012, p. 13). Post-globalization is characterized as the confluence of multiple out-of-control flows, which are neither “inside” nor “outside” language, as in complex ways it both definitively is and is not language (id., p. 25). And when it comes to deal with the transitional or incompatible nature of post-globalization, “critique” is proposed as a tool to monitor flows[3] (ibid.). In short, post-globalization is identified with a junction of multiple localities as well as globalities, requiring a monitor reflecting on it. 2 ReVisions Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan 1-1-2. Interweaving cultures in performance On the other hand, regarding theater studies, a new type of performances came out of the end of colonialism in the 1960s. Distinguished from the terms “intercultural performance” or “intercultural theatre”, Fischer-Lichte called this new phenomenon “interweaving cultures in performances” (Fischer-Lichte 2010, p. 4). As “intercultural” performances mean a combination of texts, acting styles, stages, or scenic devices from different cultures, especially the fusion between Western and non- Western cultural components, processes of “interweaving” or exchange between cultures have been going on at least since the onset of modernity and, as a result, cultures permanently undergo change and transition (id., pp. 14-15). Each locality must be reflected in each process of interweaving. This type of performances finally produces “something new which is neither one nor the other but both at the same time” (id., p. 12). Fischer-Lichte explained these performances bring the audience a “liminal experience” or in- betweenness[4], embracing “fascination as well as alienation, enchantment as well as reflection” (ibid.). As Sussman and Groves pointed out, the importance of critique to deal with the conflux of local and global narratives emerged in post-globalization, and so performances interweaving different local contexts transfer the spectators into a liminality and challenge them to reflect on this state. The similarity of these two theories is the alternation to reflect on different local narratives not integrated but gathered on the same stage. 1-1-3. Musicals in the (post-)global era: Reconsideration of mass productions? The perspective, in which musicals must be representative of globalization, also requires reflection. The British newspaper The Guardian published an article in 2010 which criticized the conventional style of musicals. In the article, the authoritative musical productions from New York’s Broadway and the London’s West End were described as an “one-way cultural exchange com[ing] down to the quality of homegrown product”, according to the adapting principle to imitate the “original” production by the exporter (also see Section 3-3). It ends with the following question: Should we really be clapping the ubiquity of a homogenised theatre culture across the planet, where your musical adventure, from Seoul to São Paulo, can take on the same uniformity as your cup of Starbucks coffee? (The Guardian 2010) Musical productions from Broadway and later from the West End are regarded as the mainstream ever since the genre was established and developed. It could be said that the monopoly by these two districts in Anglo-Saxon countries played a role in scattering the master narrative by shipping all the 3 ReVisions Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan same products to various regions. As indicated in the article, such a one-sided export is already questioned even in the musical metropolis London. 2. The third wave of musicals from Vienna While the monopoly by two districts in Anglo-Saxon countries is being questioned, a new wave of musical productions has come from a non-English speaking country. Musicals by the Austrian musical production company, United Stages Vienna (Vereinigte Bühnen Wien, hereafter “VBW”) have been gradually recognized on a global scale since their first export of Elisabeth to Japan in 1996. Today, VBW productions have been performed in 16 languages[5] in 22 countries[6] (VBW 2016). This section takes a glance at the brief history of musicals in Vienna in the post-war era and considers how expectations of a musical production from Vienna were created. 2-1. Before the Wiener musicals started The first encounter between musicals[7] and Vienna occurred in the post-war era. Musicals were brought to allied-occupied Vienna by Marcel Prawy who came back to his hometown as a cultural officer of the United States Army in 1946 (Bartosch 1997, p. 457). After the Broadway musical Kiss me Kate[8] had been performed in the Volksoper Wien in 1956, musical hits were steadily imported to Vienna from the musical metropolises and performed at the Volksoper and later at the Theater an der Wien (hereafter “TadW”) since 1963 (Pelz 1995, p. 25). In spite of their successes in sales and in tourism[9], musicals could not easily gain positive impression. For example, the Austrian conductor Clemens Krauss described Gershwin’s Porgy and Bess (1965, Volksoper) as “ausländisch [foreign]”. Musicals were experienced as a culture of the occupation forces or one of the expressions of American propaganda by the people in Vienna in the post-war era (Steinberg 2003, p. 170). Even after productions have started being imported from the West End to Vienna since the 1970s – and considering the great sensation of mega musicals since the 1980s[10] – musicals were frequently mentioned as typical American such as “wie Campbell-Soup sollen alle Musicals [...] weltweit zuverlässig wiederholbar sein [like Campbell’s soup, every musical should be steadily representable all over the world]” (Goehler 2001, p. 104) or “Broadwayklonen [Broadway clones]” (Gruber 2010, p. 149). However, musicals were needed at any cost especially for a theater suffering financial problems. The TadW, one of the central theaters for musicals in Vienna until 2006[11], recovered by using the genre and municipal assistance. Musicals boosted the occupancy rates to 99.60% in 1983 (Pelz 1995, p. 84). Yet the TadW could not run musicals without municipal assistance which accounted for 50-60 % of the 4 ReVisions Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan running costs (id., p. 91). The percentage of public assistance in the running cost of musicals in Vienna was considerably higher than that in the other countries.[12] Such circumstances created a complicated expectancy for any musical production from Vienna. That is, a musical not only had to meet the international (=Anglo-Saxon) musical standards and therefore be able to be exported to the global market, but also had to sustain Viennese culture, which had been destroyed by the war, and secure the further financial assistance for the theater. 2-2. Turning point: Elisabeth (1992) According to the expectations of a musical production from Vienna, the history of international Wiener musicals began with the musical Elisabeth, which was the first VBW production successfully exported to the world[13]. Elisabeth, a musical about the Empress Elisabeth in Austria, started being performed in 1992. For this “thoroughly European theme”[14], specialists who have experience in Europe were gathered from various fields. The production team was a combination of the Austrian author Michael Kunze, who was working as a lyricist in German pop music as well as a translator for musicals imported from Broadway and the West End, and the Hungarian composer Sylvester Levay, who was working in Hollywood at that time. The stage director was Harry Kupfer, the chief director of the Komische Oper Berlin[15].
Recommended publications
  • Spaziergang in Genf, Lausanne, Vevey Und St
    Dr. Elemér Hantos-Stiftung www.swissworld.org Your Gateway to Switzerland Studienreise Schweiz 18. – 25. Juni 2011 Reiseberichte Inhaltsverzeichnis Vorwort . 1 Sonntag . 4 Genf, Genfersee, Vevey, Rivaz Montag . 8 Genf Dienstag . 11 Solothurn, Pfäffikon SZ Mittwoch . 17 Zürich, Schlieren Donnerstag . 27 Sankt Gallen Freitag . 32 Bern, Muri, der Niesen Samstag . 41 Bern, Genf Bildernachweis . 42 Abschlussredaktion: PhilipP Siegert Vorwort Die Andrássy Universität Budapest (AUB) ist die einzige deutschsprachige Universität Ungarns. Sie wird von Ungarn gemeinsam mit Österreich und Deutschland, insbesondere den Bundesländern Bayern und Baden-Württemberg getragen und auch von der Schweiz tatkräftig unterstützt. Die Gründungsidee der AUB ist es, eine Institution zur Postgradualen Ausbildung von Führungskräften für nationale, euroPäische und internationale Institutionen sowie Unternehmen zu schaffen. Neben der starken euroPäischen Orientierung weist die AUB auch einen ausgeprägten regionalen Bezug auf. Forschung und Lehre an der AUB zeichnen sich durch einen interdisziPlinären Ansatz aus. Auch hinsichtlich der Studierenden und Dozierenden ist die Universität multinational ausgerichtet. Die fruchtbare Auseinandersetzung mit kultureller Diversität bildet einen integrierenden Bestandteil des Ausbildungskonzepts. Die Schweiz leistet einen bedeutenden Beitrag zu den Zielen der AUB. Zur Zeit sind vier Dozierende aus der Schweiz mit unterschiedlich hohen Pensen an der Universität tätig. Es ist ihnen ein großes Anliegen, bei den Studierenden der AUB, die die zukünftigen Führungskräfte in den Bereichen Wirtschaft, Verwaltung, DiPlomatie und Kulturmanagement in Ost- und MitteleuroPa – aber auch der EU – repräsentieren, ein wohlwollendes Verständnis für die Schweiz zu schaffen. Verständnis setzt Wissen voraus. Aus diesem Grunde werden im Rahmen der regulären Lehrveranstaltungen an der AUB regelmäßig Fächer mit einem Schweizbezug angeboten oder wichtige Fragen der internationalen Politik und des Völkerrechts aus einer spezifisch schweizerischen Perspektive erörtert.
    [Show full text]
  • Sisi-Images Im Spiel- Und Dokumentarfilm Des 20
    DIPLOMARBEIT Titel der Diplomarbeit: Sisi-Images im Spiel- und Dokumentarfilm des 20. Jahrhunderts und ihre geschichtswissenschaftliche Reflexion Verfasserin: Christina Hofstadler angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 190 313 333 Studienrichtung lt. Studienblatt: Lehramtsstudium UF Geschichte, Sozialkunde, Politische Bildung und UF Deutsch Betreuer: Univ.-Prof. Dr. Franz X. Eder 2 Danksagung An dieser Stelle möchte ich mich bei meiner Familie und bei meinen Freunden für all ihre Unterstützung während meines Studiums bedanken. Meine ganz besondere Verbundenheit gilt dabei meinen Eltern, die mich immer motiviert haben und mir mit Rat und Tat zur Seite gestanden sind. Diese Diplomarbeit wäre auch nicht ohne die Ermutigung und Förde- rung meiner Großmutter entstanden, die bereits in frühen Jahren mein Interesse an der Geschichtswissenschaft geweckt hat. Mein besonderer Dank gilt meiner Kollegin Martina Maurer und meinem Bruder Harald Hofstadler, die mich stets tatkräftig unterstützt haben. Schließlich möchte ich meinem Betreuer Univ. Prof. Dr. Franz X. Eder danken, der mich stets konstruktiv beraten und somit maßgeblich zur Realisie- rung der Diplomarbeit beigetragen hat. 3 Inhaltsverzeichnis 1. Einleitung ................................................................................................................ 1 2. Einführung in die Film- und Fernsehanalyse ........................................................... 4 2.1 Modelle und Formen der Analyse ...................................................................
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Cultural Memory in Localized Pop Music(Al) I Am from Austria (2017) –
    ISSN 1347-2720 ■ 西洋比較演劇研究 Vol.18 No.1 March 2019 A Jukebox Musical, or an »Austro-Musical« ? – Cultural Memory in Localized Pop Music(al) I am from Austria (2017) – Rina TANAKA Abstract I am from Austria (2017) is an Austrian jukebox musical by United Stages Vienna. The performances of this musical—inside and outside of the theater—were concerned with cultural and identity politics as well as the history of the musical with pop music in Vienna. This paper gives a picture of the local prerequisites for I am from Austria in terms of the actual and historical settings of musicals in Vienna, where the imported concepts of the “musical” and later the “jukebox musical” have been indigenized. Looking at the process of production, performance and reception, I am from Austria was the culmination of the attempts to launch an original musical from Vienna together with the financial support of the municipal government, where the cultural-political mission of musical was discussed. Meanwhile, musicals in Vienna were driven by two motivations: (1) to hybridize this genre with European music theater to reactivate Viennese musical theater, and (2) to interpret it in the contemporary context on site for broader and younger audience, following the nature of popular musical theater that the performing style and form are constantly forced to keep up with the rapid transformation of popular culture on site. The latter perspective is crucial to understanding the growth of the potential audience for I am from Austria as a result of the simultaneous and interactive localization of pop music and musical since the 1960s in Austria.
    [Show full text]
  • 2021/22 Exchange Student Guide at Angewandte
    SUMMER SEMESTER 2020/21 INTERNATIONAL OFFICE Incoming Exchange Students 2021/22 EXCHANGE STUDENT GUIDE AT ANGEWANDTE Effective: 10.02.2021 1 SUMMER SEMESTER 2020/21 INTERNATIONAL OFFICE Incoming Exchange Students CONTENTS ACADEMIC CALENDAR 3 INTERNATIONAL OFFICE | STUDENTS’ UNION | CAMPUS | DEPARTMENTS 4 - 8 ONLINE SERVICE | IT-HELP | WIFI | DATABASES 9 - 10 COURSES | LEARNING AGREEMENT | RECOGNITION | GRADING 11 - 12 LANGUAGE REQUIREMENTS | LEARNING GERMAN 13 ENROLLMENT AT ANGEWANDTE PLUS FORMS ATTACHED 14 - 15 ENTRANCE | RESIDENCE IN VIENNA & AUSTRIA PLUS FORMS ATTACHED 16 - 17 ADRESSES OF MUNICIPAL REGISTRATION SERVICES VIENNA GETTING AROUND BY PUBLIC TRANSPORT | BIKE (BUYING, RENTING AND 18 - 19 REPAIRING) | E-SCOOTER | (SHARED) CAR | TAXI | PLANE ACCOMMODATION | WORKING | MOBILE PHONES 20 - 21 HEALTH INSURANCE | (MENTAL HEALTH) SUPPORT BY ANGEWANDTE | 22 - 23 (BARRIER-FREE) EMERGENCIES AND EMERGENCY NUMBERS | WORKING GROUP ON EQUAL TREATMENT ISSUES COVID-19 | ANGEWANDTE PRECAUTIONS | FREE TESTING 24 (FUN) FACTS ABOUT AUSTRIA | HISTORY ABOUT ANGEWANDTE 25 - 26 SEMESTER EVENTS | ERASMUS STUDENT NETWORK | SHOW YOUR OWN 27 - 31 WORK | CULTURAL LIFE (FESTIVALS, CINEMAS, LIBRARIES, LISTS OF CULTURAL INSTITUTIONS) | UNIVERSITY SPORTS | STUDENT UNIONS’ ACTIVITIES | THINGS TO DO IN “NATURE” GREEN ANGEWANDTE (SUSTAINABILITY) 32 ART SUPPLIES IN AND AROUND VIENNA 33 - 34 2 SUMMER SEMESTER 2020/21 INTERNATIONAL OFFICE Incoming Exchange Students ACADEMIC CALENDAR SUMMER SEMESTER 2021 Welcome Meeting 24.02.2021 Teaching Period 01.03.2021 – 04.07.2021
    [Show full text]
  • Bakalářská Práce Michael Kunze a Jeho Dramamuzikály
    MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA KABINET DIVADELNÍCH STUDIÍ PŘI SEMINÁŘI ESTETIKY Ludvík Brouček BAKALÁŘSKÁ PRÁCE MICHAEL KUNZE A JEHO DRAMAMUZIKÁLY Vedoucí práce: PhDr. Margita Havlíčková BRNO 2007 Prohlašuji, že jsem svoji bakalářskou práci vypracoval zcela samostatně, pouze za pomocí pramenů a literatury uvedených v závěru práce. 2 Děkuji především PhDr. Margitě Havlíčkové za její obětavou pomoc při vzniku práce a Prof. Peteru BackVegovi a Mag. Monice Bjelik za poskytnutí materiálů. 3 OBSAH ÚVOD ....................................................................................................... 5 I. MICHAEL KUNZE – BIOGRAFICKÉ HESLO ............................. 6 II. TEORIE DRAMAMUZIKÁLU ...................................................... 17 III. DRAMAMUZIKÁLY ..................................................................... 20 A, Elisabeth ............................................................................................. 20 B, Tanz der Vampire ............................................................................... 31 C, Mozart! – das Musical ........................................................................ 40 D, Rebecca ............................................................................................... 48 E, Marie Antoinette ................................................................................. 56 ZÁVĚR ................................................................................................... 58 PŘÍLOHA .............................................................................................
    [Show full text]
  • The Drink Tank
    Cover—A Tribute to Sweeney Todd by Maurine Starkey!!! Page 3—Editorial by Alissa McKersie Page 4—My Favorite Musicals by Chris Garcia Art from Sheryl Birkhead Page 6—How a Boy from Albuquerque Came to Love Musicals by Ron Oakes Art by Sheryl Birkhead Page 10—Theatrical Problems by Bernadette Durbin Art by Chris Page 12—Jubilee: Around the World with Cole Porter and Moss Hart by Laura Frankos Page 18—First Broadway: First Date by Steven H Silver and Melanie Silver Photo courtesy Steven H Silver Page 22—The Rocky Horror Picture Show by Juan Sanmiguel Page 24—Regina Love Victorious by Jay Hartlove Photos courtesy Jay Hartlove (And remember to nominate The Mirror’s Revenge for Best Dramatic Presentation Short Form in 2019!) Page 25—Two Shades of Musicals by Richard von Busack Art by Michele Wilson Page 34—Musicals on the Far East End of Broadway by Kurt Erichsen Page 45—Teaneck Tanzi by Chris Page 47—Some Quick Shots from Ron Oakes Page 49—Galavant by Espana Sheriff Page 51—Musicals by Graham CHarnock Page 53—Gilbert & Sullivan & Murder: 10 Mysteries Set around G&S Productions By Petrea Mitchell When I was four-years-old, my mum took me to audition for my first musical, The Sound of Music. I knew the song I was supposed to sing, and we practiced in the restroom be- forehand. When it came time to sing in front of people, I really did NOT want to sing “Do-Re -Mi”. I wanted to sing “Twinkle, Twinkle”, and they let me.
    [Show full text]
  • Die Sisi-Straße
    Die Sisi-Straße Streckenlänge: über 2.000 Kilometer Wichtige Orte: Augsburg, Bad Ischl, Budapest, Genf, Gödöllő, Herend, Korfu, Laxenburg, DEUTSCHLAND Prag Levico Terme, Meran, Montreux, Starnberger See, Triest, Unterwittels- bach, Venedig, Wien Touristische Highlights: Wasserschloss Unterwittelsbach (Wittelsbacher Land), Roseninsel, Rhein TSCHECHISCHE K.u.K. Museum Bad Egart (Meran), Kaiserin Elisabeth Museum Possenhofen Augsburg (Starnberger See), Kaiserliche Wagenburg (Wien), Kaiservilla, Kaiserpark München Wien REPUBLIK und Marmorschlössl (Bad Ischl), Museum Achilleion (Korfu), Museum Bad Ischl Correr (Venedig), Museum der Stadt Bad Ischl, Schloss Laxenburg, Budapest Schloss Schönbrunn, Hofburg, Hofmobiliendepot (Wien), Schloss Gödöllő bei Budapest, Schloss Trauttmansdorff (Meran), Schloss Genf Miramar (Triest), Schönbrunner Tiergarten (Wien), Genfer See Triest Stuttgart Donau Aichach/ Unterwittelsbach 1 sie seinerzeit mit feinem Kies bestreuen ließ. Im Museum Correr am March Lebensweg der Kaiserin Elisabeth Markusplatz in Venedig wurde zum 175. Geburtstag der Kaiserin eine Augsburg 5 Gedenkstätte zu ihren Ehren errichtet. Artstetten SLOWAKEI Die Sisi-Straße folgt auf über 2.000 Kilometern durch Bayern, Österreich, Besonders sehenswert in Ungarn ist das Schloss Gödöllő, in dem Sisi 12 Ungarn, die Schweiz, Griechenland und Italien den wichtigsten Lebens- eine neue Heimat gefunden hat. Wenn der Kaiserin der Sinn nach München Maria Taferl 13 11 Starnberg 14 10 stationen der Wittelsbacher Prinzessin Elisabeth, die seit Kindheitstagen Gesellschaft stand, wurden auf dem Schloss Reiterwettkämpfe, Wind- 2 „Sisi“ genannt wurde. hundrennen und Taubenjagden veranstaltet. Pöcking 3 15 Wien Brativlava In Bayern geboren, wurde sie als Sechzehnjährige durch ihre Heirat Den Marmorpalast „Achilleion“ auf Korfu lässt sich die Kaiserin Elisabeth Bodensee Possenhofen 16 mit dem Habsburger Kaiser Franz Joseph I. Kaiserin von Österreich zwischen 1889 und 1891 erbauen.
    [Show full text]
  • 2020 “Vienna's the City, the Place to Become the Top of the Line.”
    2020 “Vienna’s the city, the place to become the top of the line.” – Billy Joel – er ernitz Wu fan te d/S Boar urist To enna Vi © o ienna.inf .v www 2 Monika and Sylvester Levay and Gayle Berry- Zöchbauer granted us an exclusive look at their private apartments. They live in famous tourist destinations: Schönbrunn Palace and the MuseumsQuartier. We went to see them and talked about what it was like to live in a monument! And we have another special feature story for you: have you ever looked at a bee hive at close quarters? We will treat you to a fascinating insight into the colorful world of Vienna’s honey bees. And we tell you why these insects are so important for the city. And if bees could talk, they would surely agree that Vienna is the world’s most livable city. Dear reader, If anyone still needs convincing, in this Vienna Journal we share ten good reasons why the city deserves the title. It’s not for nothing that in 2019 There’s music in the air. And there is no better air the international consultants at Mercer named the for it than in Vienna, the Capital of Music – this was Austrian capital the most livable city in the world also clear to Ludwig van Beethoven, who selected for the tenth year in a row! In another coup for the Austrian capital as his new home in 1792 before Vienna, respected UK magazine The Economist rising to stardom in the city. 2020 will mark the named us ‘The World’s Most Liveable City’ for the 250th anniversary of his birth.
    [Show full text]
  • Hermesvilla E Hermesvilla
    H S I L G N HERMESVILLA E HERMESVILLA But now open up the trees, 1130 Vienna, Lainzer Tiergarten (Lainz Game Reserve), Tel.: (+43-1) 804 13 24 Curving semicircular round; How to get there: Underground line U4 to Hietzing station, trams 60 or 62 to Hermesstrasse, Moonlight-frosted, on the ground bus 60B from there to the main gate (Lainzer Tor) Gleams Titania's castle of dreams. Opening hours: From Palm Sunday to 1 November: Tuesday to Sunday and public holidays, 10 a.m. to 6 p.m. Elisabeth on her arrival Please note that the Hermes Villa closes 30 minutes before closure of the Game at Hermes Villa, 16 May 1887 Reserve Gates. Opening times are shorter in the fall. For up-to-date information visit www.wienmuseum.at. Admission: General Admission EUR 7 Discounted Rate EUR 5 Visitors under 19 years of age FREE ENTRY First Sunday of every month (all visitors) FREE ENTRY Guided tours: Sundays and public holidays, 3 p.m. Visitor information: Tel.: (+43-1) 505 87 47-85173, [email protected] Registration for special tours: Tel.: (+43-1) 505 87 47-85180, Monday to Friday, 9 a.m. to 2 p.m., [email protected] Illustrations: Hertha Hurnaus/Wien Museum All information contained herein is subject to change without notice. MAIN SPONSOR OF THE WIEN MUSEUM WWW.WIENMUSEUM.AT SISI’S PALACE OF DREAMS Empress Elisabeth with her dog Houseguard, 1865, photo: Emil Rabending “Sisi's Sanctuary in the Vienna Woods” The Hermes Villa in the Lainz Game Reserve is the Wien Museum's largest branch location and a place of remem - brance which more than any other brings to mind the romantic figure of Empress Elisabeth of Austria.
    [Show full text]
  • Terrorism, Criminal Law and Politics
    Terrorism, Criminal Law and Politics Recent atrocities have ensured that terrorism and how to deal with terrorists legally and politically has been the subject of much discussion and debate on the international stage. This book presents a study of changes in the legal treatment of those perpetrating crimes of a political character over several decades. It most centrally deals with the political offence exception and how it has changed. The book looks at this change from an international perspective with a particular focus on the United States. Interdisciplinary in approach, it examines the fields of ter- rorism and political crime from legal, political science and criminological perspec- tives. It will be of interest to a broad range of academics and researchers, as well as to policymakers involved in creating new anti-terrorist policies. Julia Jansson holds a Doctor of Laws degree from the University of Helsinki, Finland. Transnational Criminal Justice The concept of ‘transnational criminal justice’ has frequently been interpreted in the academic literature as ‘international criminal justice’ or ‘global criminal justice.’ Many publications that use the term ‘transnational’ therefore discuss international criminal justice and international legal frameworks. Another form of study that has developed under the umbrella of transnationality in the field of criminal law is comparative. There has hence been a move from the terminology of ‘international,’ ‘global’ and ‘comparative’ criminal justice towards ‘transnational’ criminal justice. This series considers these developments, but focuses primarily on publica- tions that adhere to a more literal interpretation of the term ‘transnational.’ The aim of the series is to provide a forum for discussion of bilateral and multilat- eral relationships between nations in the field of criminal justice.
    [Show full text]
  • Tour of the Exhibition
    The royals are coming 13.03. – 03.10.2021 Tour of the exhibition Introduction Switzerland has no royal tradition of its own. Perhaps that explains the enthusiasm the democracy-driven Swiss feel when it comes to anecdotes about foreign royals. Large crowds and wild cheering during visits by crowned heads at least suggest they are fans. Many royal families have visited Switzerland. Their reasons for doing so and the places they visit are as varied as the individuals themselves. They come here to relax, or have fled and are looking for a suitable place of exile. Others come here on state visits or to meet other powerful people on neutral ground at the WEF in Davos. This exhibition tells the stories of royal visitors to Switzerland, with mementos of their trips. State visit Two years before the outbreak of World War 1, Wilhelm II paid a state visit to Switzerland. Hundreds of thousands cheered him in Zurich, eastern Switzerland and Bern, but the Kaiser had a specific objective in mind: he needed an assurance that Switzerland was serious about remaining neutral and that its army would ensure neutrality by military means if necessary. Should Germany and France come to blows, the Kaiser needed to know that the Swiss army would secure his left flank. Manoeuvres for the Kaiser Over two days around Kirchberg by Wil, military manoeuvres were staged under commander-in-chief Ulrich Wille. His aim was to demonstrate the Swiss Army’s readiness for battle. Besides Kaiser Wilhelm II and his general staff, officers from 20 nations and hundreds of thousands of spectators looked on.
    [Show full text]