The Hell Scene and Theatricality in Man and Superman
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Schulhoffs Flammen
ERWIN SCHULHOFF Zur Wiederentdeckung seiner Oper „Flammen“ Kloster-Sex, Nekrophilie, alles eins Schulhoffs "Flammen". Entdeckung im "Don Juan"-Zyklus des Theaters an der Wien. Am Anfang war das Ich. Dann das Es. Und das Überich erst, lieber Himmel, da hat sich die Menschheit etwas eingebrockt, als sie alle Dämme brechen ließ und den Kaiser wie den Lieben Gott gute Männer sein ließen. Nichts klärt uns über die Befindlichkeit der Sigmund- Freud-Generation besser auf als die Kunst der Ära zwischen 1900 und 1933, ehe die Politik - wie zuvor schon in der sowjetischen Diktatur - auch in 9. August 2006 SINKOTHEK Deutschland die ästhetischen Koordinatensysteme diktierte. Beobachtet man in Zeiten, wie die unsre eine ist, die diversen sexuellen, religiösen und sonstigen Wirrnisse, von denen die damalige Menschheit offenbar fasziniert war, fühlt man sich, wie man im Kabarett so schön sang, "apres". Sex im Kloster, Nekrophilie, alles eins. Tabus kennen wir nicht mehr; jedenfalls nicht in dieser Hinsicht. Das Interesse an einem Werk wie "Flammen", gedichtet von Max Brod frei nach Karel Josef Benes, komponiert von dem 1942 von den Nationalsozialisten ermordeten Erwin Schulhoff, ist denn auch vorrangig musikhistorischer Natur. Es gab 9. August 2006 SINKOTHEK mehr zwischen Schönberg und Lehar als unsere Schulweisheit sich träumen lässt. Erwin Schulhoff war ein Meister im Sammeln unterschiedlichster Elemente aus den Musterkatalogen des Im- wie des Expressionismus. Er hatte auch ein Herz für die heraufdämmernde Neue Sachlichkeit, ohne deshalb Allvater Wagner zu verleugnen. Seine "Flammen", exzellent instrumentiert mit allem Klingklang von Harfe, Glocke und Celesta, das jeglichen alterierten Nonenakkord wie ein Feuerwerk schillern und glitzern lässt, tönen mehr nach Schreker als nach Hindemith - auch wenn das einleitende Flötensolo beinahe den keusch-distanzierten Ton der "Cardillac"- Musik atmet. -
Zatanna and the House of Secrets Graphic Novels for Kids & Teens 741.5 Dc’S New Youth Movement Spring 2020 - No
MEANWHILE ZATANNA AND THE HOUSE OF SECRETS GRAPHIC NOVELS FOR KIDS & TEENS 741.5 DC’S NEW YOUTH MOVEMENT SPRING 2020 - NO. 40 PLUS...KIRBY AND KURTZMAN Moa Romanova Romanova Caspar Wijngaard’s Mary Saf- ro’s Ben Pass- more’s Pass- more David Lapham Masters Rick Marron Burchett Greg Rucka. Pat Morisi Morisi Kieron Gillen The Comics & Graphic Novel Bulletin of satirical than the romantic visions of DC Comics is in peril. Again. The ever- Williamson and Wood. Harvey’s sci-fi struggling publisher has put its eggs in so stories often centered on an ordinary many baskets, from Grant Morrison to the shmoe caught up in extraordinary circum- “New 52” to the recent attempts to get hip with stances, from the titular tale of a science Brian Michael Bendis, there’s hardly a one left nerd and his musclehead brother to “The uncracked. The first time DC tried to hitch its Man Who Raced Time” to William of “The wagon to someone else’s star was the early Dimension Translator” (below). Other 1970s. Jack “the King” Kirby was largely re- tales involved arrogant know-it-alls who sponsible for the success of hated rival Marvel. learn they ain’t so smart after all. The star He was lured to join DC with promises of great- of “Television Terror”, the vicious despot er freedom and authority. Kirby was tired of in “The Radioactive Child” and the title being treated like a hired hand. He wanted to character of “Atom Bomb Thief” (right)— be the idea man, the boss who would come up with characters and concepts, then pass them all pay the price for their hubris. -
A Chronology of Works by and About Bernard Shaw
A Chronology of Works By and About Bernard Shaw CONTENTS A. Shaw’s Novels, Plays and Commentary 2 B. Shaw’s Reviews and Criticism 5 C. Shaw’s Collected Writings and Letters 5 D. Biographies and Biographical Studies 8 E. Books and Essay Collections 9 F. Reference Books 15 G. Scholarly Editions of Shaw’s Plays 15 H. Bibliographies 16 I. Miscellanea 17 2 A. Shaw’s Novels, Plays and Commentary First date: year(s) written Second date: year of first performance Third date(s): year(s) of publication [in brackets] 1878 My Dear Dorothea: A Practical System of Moral Education for Females Embodied in a Letter to a Young Person of that Sex (ed. S. Winsten) [1906; 1956] 1878 Passion Play (fragment) [1971] 1879 Immaturity (novel) [1930] 1880 The Irrational Knot (novel) [ser. 1885-7; 1905] 1881 Love Among the Artists (novel) [ser. 1887-8; 1900] 1882 Cashel Byron’s Profession (novel) [ser. 1885-6; 1886; rev 1889, 1901] 1883 An Unsocial Socialist (novel) [ser. 1884; 1887] 1884 Un Petit Drame (playlet) [1959] 1884/92 Widowers’ Houses 1893 [1893; rev. 1898] 1887-88 An Unfinished Novel (novel fragment) [1958] 1889 Fabian Essays in Socialism (ed. Shaw) [1889; rev. 1908, 1931, 1948] 1890 Ibsen Lecture before the Fabian Society [1970] 1891 The Quintessence of Ibsenism (criticism) [1891; rev. 1913] 1893 The Philanderer 1905 [1898] 1893 Mrs Warren’s Profession 1902 [1898; rev. 1930] 1893-94 Arms and The Man 1894 [1898; rev. 1930] 1894 Candida 1897 [1898; rev. 1930] 1895 The Man of Destiny 1897 [1898; rev. 1930] 1895 The Sanity of Art (art criticism) [1895; rev. -
Misalliance the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival Misalliance The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: William Leach (left) and Jody Barrett in Misalliance, 1991. Contents Information on the Play Synopsis 4 CharactersMisalliance 5 About the Playwrights 6 Scholarly Articles on the Play Misalliance and Shaw: Extraordinary 8 A “Discussion” Play 9 The Entertaining Gospel 12 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: Misalliance In the garden pavilion of his father’s house, Johnny Tarleton is lounging comfortably, when his sister Hypatia’s fiance, Bentley Summerhays, arrives with an offensive air of superiority. Threatened with a beating, Bentley throws himself on the floor and screams, bringing Mrs. -
MISALLIANCE : Know-The-Show Guide
The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide Misalliance by George Bernard Shaw Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide In This Guide – MISALLIANCE: From the Director ............................................................................................. 2 – About George Bernard Shaw ..................................................................................................... 3 – MISALLIANCE: A Short Synopsis ............................................................................................... 4 – What is a Shavian Play? ............................................................................................................ 5 – Who’s Who in MISALLIANCE? .................................................................................................. 6 – Shaw on — .............................................................................................................................. 7 – Commentary and Criticism ....................................................................................................... 8 – In This Production .................................................................................................................... 9 – Explore Online ...................................................................................................................... 10 – Shaw: Selected -
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract -
ROBERT BRIAN TATE Robert Brian Tate 1921–2011
ROBERT BRIAN TATE Robert Brian Tate 1921–2011 Life BRIAN TATE WAS A MAJOR FIGURE IN Hispanic studies, as much at home in Catalan and Latin as in Spanish. He was born in Belfast on 27 December 1921 and died on 21 February 2011. He was educated at the Royal Belfast Academical Institution: the school was unusual in offering Spanish at this period, and produced a number of eminent Hispanists (among them F. W. Pierce). In 1939 he began studies at Queen’s University, and in his second year left for war service in India, Nepal and Burma; while out east he began learning Arabic. In the company of General Slim he was one of the first to enter Rangoon in 1945. On graduation in 1948 with a first in French and Spanish, his teacher Ignasi González i Llubera (1893–1962) encouraged him to go to Barcelona and Girona (in Catalonia) to do research. (This was early in the Franco regime, when Catalan politics and Catalan studies in general were suppressed.) His MA thesis at Queen’s University was ‘The Life, Works and Ideas of Cardinal Margarit’ (1949), and his PhD (also Queen’s University, 1955) was ‘The Influence of Italian Humanism on the Historiography of Castile and Aragon during the Fifteenth Century’. After teaching at Manchester (assistant lecturer, 1949–52) and Queen’s (lecturer, 1952–6) he was appointed reader at Nottingham in 1956 and was professor (indeed, the first professor of Spanish at Nottingham) from 1958 to 1983; dean of the faculty of arts 1976–9; professor emeritus in 1991. -
New York City Center Announces Re‐Opening for In‐Person Performances with Full Calendar of Programs for 2021 – 2022 Season
FOR IMMEDIATE RELEASE: New York City Center announces re‐opening for in‐person performances with full calendar of programs for 2021 – 2022 season Dance programming highlights include Fall for Dance Festival, TWYLA NOW, and the launch of two new annual dance series Additional artistic team members for Encores! 2022 season include choreographers Camille A. Brown for The Life and Jamal Sims for Into the Woods Tickets start at $35 or less and go on sale for most performances Sep 8 for members; Sep 21 for general public July 13, 2021 (New York, NY) – New York City Center President & CEO Arlene Shuler today announced a full calendar of programming for the 2021 – 2022 season, reopening the landmark theater to the public in October 2021. This momentous return to in‐person live performances includes the popular dance and musical theater series audiences have loved throughout the years and new programs featuring iconic artists of today. Manhattan’s first performing arts center, New York City Center has presented the best in music, theater, and dance to generations of New Yorkers for over seventy‐five years. “I am delighted to announce a robust schedule of performances for our 2021 – 2022 season and once again welcome audiences to our historic theater on 55th Street,” said Arlene Shuler, President & CEO. “We have all been through so much in the past sixteen months, but with the support of the entire City Center community of artists, staff, and supporters, we have upheld our legacy of resilience and innovation, and we continue to be here for our loyal audience and the city for which we are proudly named. -
Atlas of the Mediterranean Seamounts and Seamount-Like Structures
Atlas of the Mediterranean Seamounts and Seamount-like Structures ULISSE 44 N JANUA S.LUCIA SPINOLA OCCHIALI ARAGÓ CALYPSO HILLS 42 CIALDI FELIBRES HILLS 42 TIBERINO ETRUSCHI LA RENAIXENÇA HILLS ALBANO MONTURIOL S.FELIÙ SMS DAUNO VERCELLI SALVÁ BRUTUS SPARTACUS CASSINIS EBRO BARONIE-K MARUSSI SECCHI-ADRIANO FARFALLE ALBATROS-CICERONE CRESQUES BERTRAN SELLI VENUS MORROT DE LA CIUTADELLA GORTANI SELE MONTE DELLA RONDINE TACITO SÓLLER ALABE DE MARCHI SIRENE SARDINIA D’ANCONA FLAVIO GIOIA AMENDOLARA 40 SALLUSTIO 40 MAGNAGHI POSEIDONE ROSSANO APHRODITI VAVILOV TIBULLO DIAMANTE MORROT CORNAGLIA V.EMANUELE CARIATI DE SA DRAGONERA MAJOR ISSEL PALINURO-STRABO OVIDIO VILADESTERS CATULLO GLAVKI ORAZIO MARSILI-PLINIO GLABRO ENOTRIO MANSEL JOHNSTON STONY SPONGE QUIRRA ENEA TITO LIVIO VIRGILIO ALCIONE AUGUSTO SES OLIVES GARIBALDI-GLAUCO LAMETINO 1 BROUKER JAUME 1 CORNACYA LAMETINO 2 COLOM TRAIANO LUCREZIO STOKES XABIA-IBIZA VESPASIANO LITERI SINAYA VALLSECA SISIFO EMILE BAUDOT GIULIO CESARE-CAESAR DREPANO ENARETE CASONI FONTSERÈ ICHNUSA IRA NAVTILOS CABO DE LA NAO AUSIÀS MARCH ANCHISE BELL GUYOT POMPEO PROMETEO MARTORELL ACESTE-TIBERIO EOLO FORMENTERA SOLUNTO ALKYONI FERRER SCUSO SAN VITO LOS MARTINES ALÍ BEI FINALE DON JUAN RESGUI RIBA SENTINELLE (SKERKI) BALIKÇI EL38 PLANAZO BIDDLECOMBE SILVIA 38 PLIS PLAS KEITH SECO DE PALOS ESTAFETTE HECATE ADVENTURE TALBOT TETIDE 170 km ÁGUILAS GALATEA PANTELLERIA ANFITRITE EMPEDOCLE PINNE ANTEO 2 KHAYR-AL-DIN CIMOTOE ANTEO 3 ABUBACER FOERSTNER NAMELESS PNT. E MADREPORE ANTEO 1 AVENZOAR PNT. CB CHELLA CABO DE GATA ANGELINA ALFEO SABINAR PNT. SW AVEMPACE-ALGARROBO MAIMONIDES RIDGE BANNOCK KOLUMBO DJIBOUTI-HERRADURA POLLUX BILIM ADRA-AVERROES MAIMONIDES BIRSA PNT. SE HERRADURA-DJIBOUTI LINOSA III AL-MANSOUR A EL SEGOVIANO DJIBOUTI VILLE ALBORÁN LINOSA I LINOSA II HÉSPERIDES HÉRCULES EL IDRISSI YUSUF KARPAS CATIFAS-W. -
Entr'acte - Wikipedia, the Free Encyclopedia
Entr'acte - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Entr'acte Entr'acte From Wikipedia, the free encyclopedia For the film by René Clair, see Entr'acte (film). Entr'acte is French for "between the acts". It can have the meaning of a pause between two parts of a stage production, synonymous to intermission, but is more often used to indicate that part of a theatre production that is performed between acts as an intermezzo or interlude. Originally entr'actes resulted from stage curtains being closed for set or costume changes: to kill time, in order not to halt the action, to make a transition from the mood of one act to that of the next, or to prevent the public from getting noisy. During set changes, the action could be continued in entr'actes in front of the closed curtain (only players, no other scenery than the curtain, and a minimum of props). In this sense of taking the action from one part of a large-scale drama to the next by fitting in a part of the story that completes the missing links, an entr'acte is similar to an interquel (which is a concept that was formulated much later on however, and indicates an "interlude" of the same kind of resources and magnitude as the parts it joins). In traditional theatre also incidental music could be used to bridge the 'closed curtain' periods: as well in Ballet, Opera and Drama there is a rich tradition of such musical interludes. The German word for this kind of interludes (Verwandlungsmusik) still refers to its original function during changing of the scene. -
~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature. -
Listening Guide: Richard Strauss' Symphonic Poem Don Juan 1
Listening Guide: Richard Strauss’ Symphonic Poem Don Juan 1. Strauss’ Don Juan is a hugely exciting piece with which to open a program. It is approximately 17 min. long, and can be enjoyed simply for its energy, its recurring dominant melodies, its ever-shifting moods and its remarkable orchestration. If you have only a little time to preview this piece, just keep these qualities in mind and listen to one of the more popular performances that have been uploaded to YouTube. 2. Of course, I urge you to take the next step in preview listening by remembering Deb Shuster’s definitions of “program music” and of “symphonic poem.” • Program music: A musical composition that aims to portray in musical terms the events, characters &/or scenes that usually originate in a poem or a story. In this case, Strauss drew upon the story of Don Juan, which is a tale of a fictitious character, whose amorous adventures, his larger than life energy, and his indifference to societal norms made him the hero-villain of numerous plays, novels, and poems from the 1660’s to the 1900’s. Strauss draws on a version of Don Juan by Hungarian /Austrian/German author Nikolaus Lenau, written in 1844. Lenau’s Don Juan is more of a philosopher living a disillusioned, aimless, and unsatisfying life. He has many amorous adventures in a search a for meaning and perfect beauty, but he finally realizes that he has harmed many and that his searching may be futile. In a duel with the brother or father of one his former lovers, he drops his sword and embraces death.