DOCSLIB.ORG

INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 8907181 Rhythmic space and rhythmic movement: The Adolphe Appia/Jaques-Dalcroze collaboration Abdel-Latif, Mahmoud Hammam, Ph.D. The Ohio State University, 1988 Copyright ©1988 by Abdel-Latif, Mahmoud Hammam. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 RHYTHMIC SPACE AND RHYTHMIC MOVEMENT: THE ADOLPHE .APPIA/JAQUES-DALCROZE COLLABORATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Mahmoud Hammam Abdel-Latif, B.F.A., M.F.A., M.A. * * * * * Ohio State University 1988 Dissertation Committee: Approved by George P. Crepeau Firman H. Brown, Jr. Advisor Russell T. Hastings Department of Theatre Copyright by Mahmoud Hammam Abdel-Latif 1988 ii To My Wife and Sons iii ACKNOWLEDGMENTS I express my deep gratitude to my advisor, Dr. George Crepeau, for his guidance, support, and insight throughout the research. It is no exaggeration to say that he made possible the completion of this study. I also extend thanks to the other members of my advisory committee, Dr. Firman H. Brown for his support, assistantships, and encouragement for many years, and Professor Russell T. Hastings for his help, valuable suggestions, and inspiring comments on my work. Gratitude is respectfully expressed to Dr. Alan Woods for his years of advisory, help, and support which are part of this research project. I also express my sincere thanks to Dr. John Greisberger and his staff of OSU ISS, especially, Mrs. Cres Ricca, for grants and wonderful support. Most gratifying was the support I received from almost everyone and every office. Thanks are also due to Mr. Vincent Giroud, his colleagues and assistants of the Beinecke Rare Book and Manuscript Library, Yale University, School of Drama, who made available the related materials and manuscripts which I was welcome to review in person. Thanks to my friends, Dr. Sherif F. Ayoub, his brother Essam, and Mrs. Helene Dupas for their help with the French translation, and Mr. Richard Nantelle for his help with the German one. To my wife, Ragaa, I offer sincere thanks for her sacrifice and unshakable faith in me, and for her willingness to endure with me the vicissitudes of my endeavors. My sons, Mohammad, Taha, and Kareem, I thank all for their understanding of my frequent absences. v VITA February 25, 1942 ............. Born— Cairo, Egypt 1967 ........... Architecture/Honor 1967-Present . the College of Fine Arts, Helwan University, Cairo 1976 ........... Architecture 1980-82 ......... The University of Kansas 1981 (Summer) . Theatre Co. 1982 ........... The University of Kansas 1984-85 ....... Ohio State University 1986-87 ......... Ohio State University 1986 ........... Columbus Living Theatre 1987 ........... Columbus Living Theatre FIELDS OF STUDY Major Field: Theatre Studies in the following subjects: THEATRE HISTORY (Dr. Alan Woods) LITERATURE (Prof. Donald Glancy) CRITICISM (Dr. George Crepeau) DIRECTING AND PRODUCTION (Dr. Firman H, Brown) RESEARCH METHOD (Dr. Alan Woods) CONTEMPORARY DRAMA (Drs. George Crepeau, Charles Ritter, Alan Woods) RENAISSANCE AND BAROQUE THEATRE (Dr. Alfred S. Golding) SCENOGRAPHY/THEATRE DESIGN (Prof. Russell' T. Hastings) TABLE OF CONTENTS ACKNOWLEDCSvIENTS ............................... , i v VITA ............................................................. vi LIST OF FIGURES ................................... ix INTRODUCTION .................................................. 1 CHAPTER PAGE I. EMILE JAQLES-DALCROZE: EURHYTHMICS AND RHYTHMIC M O V E M E N T ..................................... 17 II. ADOLPHE APPIA: ARTIST, MUSICIAN, DESIGN AND RHYTHMIC SPACE ..... ............................ 32 III. THE APPIA/JAQUES-DALCROZE COLLABORATION................... 52 IV. RHYTHMIC SPACE AND RHYTHMIC MOVEMENT....................... 87 V. CONCLUSION............................................... 137 BIBLIOGRAPHY.................................................. 146 vi ii LIST OF FIGURES FIGURES PAGE (Figure 1.1) Jaques-Dalcroze at the Piano (Hellerau) ........... 18 (Figure 1.2) A Plastic Exercise in Rhythmic Movement ....... 21 (Figure 1.3) A Plastic Exercise ................................ 21 (Figure 1.4) A Plastic S t u d y .................................... 23 (Figure 1.5) A Plastic Exercise . .............................. 25 (Figure 1.6) A Plastic Exercise ................................ 29 (Figure 1.7) Jaques-Dalcroze with his Young Pupils (Geneva) .... 30 (Figure 1.8) Institute Jaques-Dalcroze (Geneva) ................. 31 (Figure 1.9) Institute Jaques-Dalcroze (Geneva) ................. 31 (Figure 2.1) Adolphe Appia in 1880 33 (Figure 2.2) Adolphe Appia in 1882 ................... ..... 36 (Figure 2.3) Music Composition by Appia in 1880-81 (Geneva) .... 39 (Figure 2.4) A Water-Color Sketch by Appia in 1887 (Dresden) . 42 (Figure 3.1) Prometheus. Act I (The Workshop)..................... 63 (Figure 3.2) Prometheus. Act III (The Workshop Destroyed)......... 63 (Figure 3.3) The Jaques-Dalcroze Institute — The Main Entrance (1912) .............. 66 (Figure 3.4) The Ground Plain of the Institute..................... 66 (Figure 3.5) The Main Auditorium of the Institute During a Demonstration (The orchestra pit is covered over). 68 (Figure 3.6) The Same Auditorium (with the sunken orchestra pit). 68 (Figure 3.7) One of the Setting Possibilities..................... 70 ix (Figure 3.8) The Audience Area at the Other End of the Hall .... 70 (Figure 3.9) Gluck’s Orpheus and Eurydice (1912-13) ......... 72 (Figure 3.10} Appia’s Design (1926) 72 (Figure 3.11) Gluck’s Orpheus: Group of Mourning Women ....... 74 (Figure 3.12) Gluck’s Orpheus: Orpheus in Hades, Act II, Scene I , A Rehearsal P h o t o g r a p h ................ 74 (Figure 3.13) Paul Claudel’s "Annunciation" designed by Salzmann (Production Photograph 1913) ....................... 77 (Figui'e 3.14) "The June Festival", July 1914 "Rhythmic Space and Rhythmic Movement" ............79 (Figure 3.15) "The June Festival", July 1 9 1 4 .................79 (Figure 3.16) "The June Festival", July 1 9 1 4 ................. 79 (Figure 3.17) "The June Festival", July 1914 "Rhythmic Space and Rhythmic. Movement".......... 81 (Figure 3.18) "The June Festival", July 1 9 1 4 .................81 (Figure 3.19) Hellerau: Rehearsal Photograph .............. 83 (Figure 3.20) Hellerau: Rehearsal Photograph .............. 83 (Figure 3.21) Alexander V. Salzmann’s Sketch .............. 85 (Figure 3.22) Alexander V. Salzmann’s Sketch .............. 85 (Figure 3.23) Hellerau: A Photograph ............................ 86 (Figure 4.1) Appia at His Drawing Board Looking Through the Window (1910)....................... 88 (Figure 4.2) Rhythmic Space: "The Clearing" or "Forest Glade" . 97 (Figure 4.3) A Plastic Study by the Jaques-Dalcroze Students . 97 (Figure 4.4) Evening Round (La Ronde du soir), 1909 ......... 101 (Figure 4.5) A Plastic Exercise, Geneva 1918 101 (Figure 4.6) A Rhythmic Space (1909 - 1 9 1 0 ) ............. 103 (Figure 4.7) A Rhythmic Space (1909 - 1 9 1 0 ) ................ 106 (Figure 4.8) A Plastic Exercise ................................ 106 (Figure 4.9) A Rhythmic Space "The Three Piiiars" (1909) 109 (Figure 4.10) A Rhythmic Space (1909) ..... ................. 112 (Figure 4.11) A Plastic Exercise .............................. 112 (Figure 4.12) A Plastic Exercise ................................ 112 (Figure 4.13) A Rhythmic Space "The Shadow of the Cypress Tree" (1909) . •■............................. 114 (Figure 4.14) A Rhythmic Space (1909 - 1910)........... 116 (Figure 4.15) A Rhythmic Space "Echo and Narcissus" (1909 - 1910) 118 (Figure 4.16) A Rhythmic Space "Moonlight" (1909) 121 (Figure 4.17) A Rhythmic Space (1909 - 1910) .................... 123 (Figure 4.18) A Rhythmic Space "The Staircase" (1909) 125
Load more

Recommended publications
  • Adolphe Appia and the Emergence of Scenography’ by Professor Thea Brejzek Goethe Institut, Woollahra
    Sunday 18 April 2021, 2:00 pm ‘Adolphe Appia and the emergence of scenography’ by Professor Thea Brejzek Goethe Institut, Woollahra Program: 12.30pm: DVD - Ludwig II Castles in Bavaria 2.00pm: Professor Thea Brejzek talks about revolutionary Swiss stage designer Adophe Appia and the Emergence of Scenography 3.30pm: Afternoon tea Goethe Institut, 90 Ocean Street, Woollahra Members $25 / non-members $30 / full-time students $10 Report On Sunday 18 April an enthusiastic group of 40 members and friends gathered at the Goethe Institut for the first time in 18 months to watch a DVD and listen to a talk. We were warmly welcomed by the Director of the Institut, Sonja Griegoschewski, who congratulated the Society on reaching our 40th anniversary. We have been using the Institut as our base for 30 years and Sonja expressed the wish that we will continue for another 40. The talk was followed by refreshments provided by members of the committee plus champagne very generously provided by Sonja. ADOLPHE APPIA AND THE EMERGENCE OF SCENOGRAPHY Professor Thea Brejzek, Professor in Interior Architecture at the University of Technology Sydney Prof Brejzek started with the influence on the theoretical writings of Adolphe Appia (1862 – 1928) of Wagner’s proposal in Artwork of the Future (1849) for a Gesamtkunstwerk (total artwork). In turn Appia’s ideas influenced Wieland Wagner’s restaging of the operas in Bayreuth after the war. She talked about Appia’s early reactions to Bayreuth’s staging and his designs for Tristan and Parsifal. His revolutionary use of lighting and new technology to create atmosphere to support the actor changed the practice of scenography forever.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
    [Show full text]
  • Ein Schweizer Theaterreformer : Adolphe Appia Und Bayreuth = Adolphe Appia Et Bayreuth
    Ein Schweizer Theaterreformer : Adolphe Appia und Bayreuth = Adolphe Appia et Bayreuth Autor(en): Stadler, Edmund Objekttyp: Article Zeitschrift: Die Schweiz = Suisse = Svizzera = Switzerland : offizielle Reisezeitschrift der Schweiz. Verkehrszentrale, der Schweizerischen Bundesbahnen, Privatbahnen ... [et al.] Band (Jahr): 49 (1976) Heft 8 PDF erstellt am: 09.10.2021 Persistenter Link: http://doi.org/10.5169/seals-774762 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Ein Schweizer Theaterreformer: Adolphe Appia und Bayreuth 1882 besuchte der zwanzigjährige Genfer Musikstudent Adolphe Appia 1891/92 im Manuskripte zusammen mit Entwürfen für «Rheingold» und zum ersten Mal das Festspielhaus in Bayreuth und sah dort «Parsifal» in der «Walküre» vorlag.
    [Show full text]
  • Die Meistersinger Von Nürnberg on Stage in the Weimar Republic
    This is a repository copy of Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/122212/ Version: Accepted Version Article: Sheil, Aine Catherine orcid.org/0000-0001-6890-3204 (2018) Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. Cambridge Opera Journal. pp. 117-151. ISSN 0954-5867 https://doi.org/10.1017/S095458671700012X Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Displacement, repetition and repression: Die Meistersinger von Nürnberg on stage in the Weimar Republic Áine Sheil Abstract Relatively little scholarly attention has been paid to the performance and reception history of Die Meistersinger von Nürnberg during the Weimar Republic (1919-33), but as this article will demonstrate, the opera played an indispensable role in the repertories of Weimar opera houses. Despite an evident desire on the part of some Weimar directors and designers of Die Meistersinger to draw on staging innovations of the time, productions of the work from this period are characterised by scenic conservatism and repetition of familiar naturalistic imagery.
    [Show full text]
  • Works Cited in Alex Ross's Wagnerism
    Works Cited in Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music Collections: Aldridge Collection, Charles Deering McCormick Special Library of Collections, Northwestern University Willa Cather Archive, University of Nebraska-Lincoln Mary Desti Papers, UCLA Library, Department of Special Collections Bundesarchiv Berlin-Lichterfelde Dujardin Papers, Harry Ransom Center, University of Texas at Austin Isabella Stewart Gardner Museum Archives Louis Kirstein Collection, Baker Library Special Collections, Harvard Business School Sidney Lanier Papers, Special Collections, Milton S. Eisenhower Library, Johns Hopkins University Thomas-Mann-Archiv, ETH Zuricḧ National Willa Cather Center, Red Cloud, Nebraska Rockefeller Family Archives Third Reich Collection, Library of Congress National Archives of the Richard Wagner Foundation Wister Papers, Library of Congress W. E. B. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries Richard Ellmann Papers, University of Tulsa Special Collections Emma Goldman Papers, International Institute of Social History Hanfstaengl Nachlass, Handschriften, Bayerischer Staatsbibliothek Institut für Zeitgeschichte München, Archivendatenbank Online The Joyce Papers, National Library of Ireland Howard Nemerov Papers, Washington University Libraries, Department of Special Collections Russian State Archive Toscanini Legacy Papers, Music Division, New York Public Library for the Performing Arts Owen Wister Papers, American Heritage Center, University of Wyoming Published sources: Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton UP, 1991). _____. “Wagner, Cinema, and Redemptive Glee,” Opera Quarterly 21:4 (2005), pp. 597–611. Abrahamsen, David. The Mind and Death of a Genius (Columbia UP, 1946). Acampora, Christa Davis. Contesting Nietzsche (Chicago UP, 2013). Acocella, Joan. Willa Cather and the Politics of Criticism (University of Nebraska Press, 2000).
    [Show full text]
  • Robert Lepage's Scenographic Dramaturgy
    Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work Melissa Poll Royal Holloway, University of London PhD in Drama & Theatre Studies 2014 Declaration of Authorship I, Melissa Poll, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ Acknowledgements Foremost, I would like to thank my co-supervisors, Dr. Karen Fricker and Dr. Helen Gilbert for their ongoing support and dedication to my project from the initial scholarship proposal through the writing up process. Karen and Helen’s integrity, expertise and high standards have been an ongoing source of inspiration. I aspire to bring the same qualities to my future scholarly endeavours. I would also like to extend my thanks to Royal Holloway for supporting this project through a Reid Research Scholarship. Beyond my supervisory team, I am particularly grateful to David Williams for not only sharing his teaching expertise and classroom with me but also for many stimulating conversations that have fed my work. Thanks are due as well to Sophie Nield and Liz Schafer for generously sharing advice and feedback. My new friends, Dr. Keren Zaiontz, Dr. Emma Cox and Dani Phillipson have graciously offered their continued support and expertise, whether through conversations over coffee, walks along the Thames or on breaks at the college. To them, I would like to extend my sincerest thanks. I am grateful too to my classmates, particularly Alan Duffield, Joe McLoughlin and Jorge Pérez Falconi for their friendship, encouragement and unfailing availability to read drafts.
    [Show full text]
  • Wagner, Nietzsche, and the Idea of Bayreuth in Relation to Organization and Management Theory Josef Chytry
    Worcester Polytechnic Institute Digital WPI Aesthesis Archive Organizational Aesthetics 2007 'Aphrodisian Bliss' for the Artful Firm: Wagner, Nietzsche, and the Idea of Bayreuth in Relation to Organization and Management Theory Josef Chytry Follow this and additional works at: https://digitalcommons.wpi.edu/aesthesis Part of the Arts and Humanities Commons, and the Business Commons To access supplemental content and other articles, click here. Volume 1, Issue 2 Pages 43-53 Recommended Citation Chytry, Josef, (2007). "'Aphrodisian Bliss' for the Artful Firm: Wagner, Nietzsche, and the Idea of Bayreuth in Relation to Organization and Management Theory". Aesthesis: International Journal of Art and Aesthetics in Management and Organizational Life, Volume 1, Issue 2, p. 43-53. https://digitalcommons.wpi.edu/aesthesis/12 This Volume 1, Issue 2 is brought to you for free and open access by the Organizational Aesthetics at Digital WPI. It has been accepted for inclusion in Aesthesis Archive by an authorized administrator of Digital WPI. For more information, please contact [email protected]. MANAGER AS ARTIST Dégot ‘APHRODISIAN BLISS’ Chytry POEM‘E’: MANAGING ‘ENGAGEMENT’ Guimarães-Costa & Pina e Cunha PERIPHERAL AWARENESS Chia & Holt FUNKY proJECts Garcia and Pérez AesthetiCS OF Emptiness Biehl POETRY PLAY Darmer, Grisoni, James & Rossi Bouchrara WORKPLACE proJECts James DVD DRAMA Taylor AVANT GARDE ORGANIZATION Vickery Aesthesis//Create International journal of art and aesthetics in management and organizational life and organizational International
    [Show full text]
  • The Influence of Dalcroze Eurhythmics in the Contemporary Theatre
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1966 The nflueI nce of Dalcroze Eurhythmics in the Contemporary Theatre. Clark Mccormack Rogers Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Rogers, Clark Mccormack, "The nflueI nce of Dalcroze Eurhythmics in the Contemporary Theatre." (1966). LSU Historical Dissertations and Theses. 1216. https://digitalcommons.lsu.edu/gradschool_disstheses/1216 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 67-1183 ROGERS, C lark McCormack, 1938- THE INFLUENCE OF DALCROZE EURHYTHMICS IN THE CONTEMPORARY THEATRE. Louisiana State U niversity and A g ricu ltu ra l and Mechanical College, Ph.D., 1966 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE INFLUENCE OF DALCROZE EURHYTHMICS IN THE CONTEMPORARY THEATRE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Clark McCoznack Rogers B.A., Howard College, 19^0 M.A., The Ifeiversity of Tennessee, I96I August, 1966 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWiaDŒŒNT The author wishes to express his gratitude to Dr.
    [Show full text]
  • Adolphe Appia and the First Scenographic Turn
    This is a repository copy of A ‘choréographie’ of light and space: Adolphe Appia and the first scenographic turn. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/86263/ Version: Accepted Version Article: Palmer, S orcid.org/0000-0001-9459-6113 (2015) A ‘choréographie’ of light and space: Adolphe Appia and the first scenographic turn. Theatre and Performance Design, 1 (1-2). pp. 31-47. ISSN 2332-2551 https://doi.org/10.1080/23322551.2015.1024975 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Scott Palmer A ‘choréographie’ of light and space: Adolphe Appia and the first scenographic turn1 Abstract While the significance and influence of Appia’s writings and his storyboard scenarios of Wagnerian operas is uncontested, their origin has almost universally been explained as instigated by a combination of his musical inspiration alongside the technological development of electric stage lighting. While light was clearly at the heart of this new scenography, it was not as a result of the new electrical, incandescent lamps of Edison and Swan that had begun to populate the theatres of Europe and North America from the early 1880s as most commentators would suggest, but rather due to an older, pre- existing lighting technology with which Appia was acquainted.
    [Show full text]
  • Genève 24 Rue Du Cendrier, CH - 1201 Genève
    l’autographe l’autographe L’autographe S.A. Genève 24 rue du Cendrier, CH - 1201 Genève +41 22 510 50 59 (mobile) +41 22 523 58 88 (bureau) web: www.lautographe.com mail: [email protected] All autographs are offered subject to prior sale. Prices are quoted in EURO and do not include postage. All overseas shipments will be sent by air. Orders above € 1000 benefts of free shipping. We accept payments via bank transfer, Paypal and all major credit cards. We do not accept bank checks. Postfnance CCP 61-374302-1 3, rue du Vieux-Collège CH-1204, Genève IBAN: CH 94 0900 0000 9175 1379 1 SWIFT/BIC: POFICHBEXXX paypal.me/lautographe The costs of shipping and insurance are additional. Domestic orders are customarily shipped via La Poste. Foreign orders are shipped via Federal Express on request. n. 60 3. Gemma Bellincioni (Monza, 1864 - Naples, 1950) Autograph quotation signed, dated “Vienna 1893” By the Italian soprano. In full: “L’arte….. e l’amore sono tiranni, vogliono anima e cuore tutta per loro! …… Gemma Bellincioni”. One page (11 cm x 17 cm) in Italian, in fne condition. Included: autograph postcard signed By the Musical Autographs renowned Italian soprano, who created the character of Santuzza in Pietro Mascagni’s Ca- valleria rusticana in 1890. In fne condition. € 180 1. Franco Alfano (Posillipo, 1875 - Sanremo, 1954) Autograph musical quotation signed “Franco Alfano” dated “Torino 5 Marzo 927” By the Italian composer and pianist, best known for his opera Resurrezione (1904) and for having completed Giacomo Puccini’s Turandot (1926). Alfano inscribes 5 bars of a Lento from the 2nd act his opera Resurrezione, dedicating it to the “Valentissima signor.na Giannina Rota con ammirazione”.
    [Show full text]