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Topical Weill: News and Events
Volume 27 Number 1 topical Weill Spring 2009 A supplement to the Kurt Weill Newsletter news & news events Summertime Treats Londoners will have the rare opportunity to see and hear three Weill stage works within a two-week period in June. The festivities start off at the Barbican on 13 June, when Die Dreigroschenoper will be per- formed in concert by Klangforum Wien with HK Gruber conducting. The starry cast includes Ian Bostridge (Macheath), Dorothea Röschmann (Polly), and Angelika Kirchschlager (Jenny). On 14 June, the Lost Musicals Trust begins a six-performance run of Johnny Johnson at Sadler’s Wells; Ian Marshall Fisher directs, Chris Walker conducts, with Max Gold as Johnny. And the Southbank Centre pre- sents Lost in the Stars on 23 and 24 June with the BBC Concert Orchestra. Charles Hazlewood conducts and Jude Kelly directs. It won’t be necessary to travel to London for Klangforum Wien’s Dreigroschenoper: other European performances are scheduled in Hamburg (Laeiszhalle, 11 June), Paris (Théâtre des Champs-Elysées, 14 June), and back in the Klangforum’s hometown, Vienna (Konzerthaus, 16 June). Another performing group traveling to for- eign parts is the Berliner Ensemble, which brings its Robert Wilson production of Die Dreigroschenoper to the Bergen Festival in Norway (30 May and 1 June). And New Yorkers will have their own rare opportunity when the York Theater’s “Musicals in Mufti” presents Knickerbocker Holiday (26–28 June). Notable summer performances of Die sieben Todsünden will take place at Cincinnati May Festival, with James Conlon, conductor, and Patti LuPone, Anna I (22 May); at the Arts Festival of Northern Norway, Harstad, with the Mahler Chamber Orchestra led by HK Gruber and Ute Gfrerer as Anna I (20 June); and in Metz, with the Orchestre National de Lorraine, Jacques Mercier, conductor, and Helen Schneider, Anna I (26 June). -
Mla Selective List of Materials for Use By
REPORT RESUMES ED 020 686 FL 000 181 1LA SELECTIVE LIST OF MATERIALS FOR USE BY TEACHERS OF MODERN FOREIGN LANGUAGES IN ELEMENTARY AND SECONDARY SCHOOLS. BY- OLLMANN, MARY J., ED. MODERN LANGUAGE ASSN. OF AMERICA, NEW YORK, N.Y. PUB DATE 62 CONTRACT OEC-SAE-8342 EDRS PRICE MF.40.75 HC-$6.80 168P. DESCRIPTORS- *SECONDARY SCHOOLS, *LANGUAGE TEACHERS, *ANNOTATED BIBLIOGRAPHIES, *MODERN LANGUAGES, *INSTRUCTIONAL MATERIALS, FLES, TEXTBOOK EVALUATION, INFORMATION SOURCES, LANGUAGE LEARNING LEVELS, ROMANCE LANGUAGES, EVALUATION CRITERIA, MATERIALS GROUPED ACCORDING TO LANGUAGE (FRENCH, GERMAN; ITALIAN, MODERN HEBREW, NORWEGIAN, POLISH, PORTUGUESE, RUSSIAN, SPANISH, SWEDISH) AND SUBJECT MATTER ARE FOUND IN THIS ANNOTATED SELECTIVE LIST. FOR ITEMS IN EACH SECTION, INFORMATION INCLUDES LIST PRICES, GRADE LEVELS, LANGUAGE PROFICIENCY LEVELS, AND CRITICAL EVALUATIONS. APPENDIXES INCLUDE SELECTIVE AND ANNOTATED BIBLIOGRAPHIES FOR SIX CULTURES (FRENCH, GERMAN, HISPANIC, ITALIAN, LUSO-BRAZILIAN, AND RUSSIAN), CRITERIA FOR THE EVALUATION OF MATERIALS; AND SOURCES OF MATEnIALS. (AF) U.S. DEPARTMENT Of HEALTH. ELiVATION & WELFARE FRENCH OFFICE Of EDUCATION GERMAN ITALIAN THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR OR6ANIZATION ORIGINATIN5 IT.POINTS OF VIEW OR OPINIONS MODERN HEBREW STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. NORWEGIAN POLISH PORTUGUESE RUSSIAN SPANISH SWEDISH MLA selective list of materials for use by TEACHERS OF MODERN FOREIGN LANGUAGES IN ELEMENTARY AND SECONDARY SCHOOLS EDITED BY Mary J. 011mann Prepared and Published by The Modern Language Association of America Pursuant to a Contract with the U.S. Office of Education, Department of Health, Education, and Welfare 1962 This Selective List of Materials supersedes the Materials Est published by the Modern Language Association in 1959 "PERMISSION TO REPRODUCE THIS COPYRIGHTED MATERIAL HAS 2EEN GRANTED BY 0.Mottaktinu TO ERIC AND ORGANIZATI S °PELTING UNDER AGREEMENTS WITP U.S. -
Klassiker Der Deutschen Filme
Klassiker der deutschen Filme Die Konferenz der Tiere (1969) ..................................................................................................3 Zwei blaue Vergißmeinnicht (1963)............................................................................................4 So liebt und küsst man in Tirol (1961) ........................................................................................5 Am Sonntag will mein Süsser… (1961) ......................................................................................5 Allotria in Zell am See (1963).....................................................................................................6 Freddy und das Lied der Südsee (1962).......................................................................................7 Lady Windermeres Fächer (1935)...............................................................................................7 Fridericus - Der Alte Fritz (1963)................................................................................................8 Paradies Paradies der Junggesellen (1939) ..................................................................................9 Der Kaiser von Kalifornien (1935/36).........................................................................................9 Amphitryon (1935) ...................................................................................................................10 Der Jugendrichter (1959) ..........................................................................................................11 -
Viktor De Kowa – Wikipedia Viktor De Kowa
19.5.2017 Viktor de Kowa – Wikipedia Viktor de Kowa aus Wikipedia, der freien Enzyklopädie Viktor de Kowa (auch Victor de Kowa, eigentlich Victor Paul Karl Kowarzik) (* 8. März 1904 in Hohkirch bei Görlitz, heute Przesieczany; † 8. April 1973 in West-Berlin) war ein deutscher Theater- und Filmschauspieler, Chansonsänger, Regisseur, Erzähler und Komödiendichter. Inhaltsverzeichnis 1 Leben 2 Filmografie 3 Hörspiele 4 Auszeichnungen 5 Medien 6 Werke 7 Literatur 8 Weblinks 9 Einzelnachweise Viktor de Kowa, 1971 Leben Der Sohn eines Landwirts und Ingenieurs wuchs in Dresden und von 1908 bis 1913 in der Villa „1900 am Walde“ in Seifersdorf bei Dippoldiswalde auf, wo er auch eingeschult wurde. Später wohnte er mit seiner Familie in Chemnitz. Nach der Kadettenschule besuchte er die Kunstakademie in Dresden und wurde zunächst Plakatzeichner. Dann nahm de Kowa Schauspielunterricht bei Erich Ponto, der ihm 1922 sein erstes Engagement am Dresdner Staatstheater vermittelte. 1926 gehörte de Kowa zum Ensemble der Waldbühne Sohland. Nach Stationen in Lübeck, Frankfurt am Main und Hamburg ging de Kowa nach Berlin, wo er an der Volksbühne, am Deutschen Theater und am Staatstheater bei Gustaf Gründgens spielte. Seine erste kleine Filmrolle spielte er schon zur Stummfilmzeit in Der Herzensdieb (1927). In der UFA-Zeit (1930er und 1940er Jahre) zählte de Kowa zu den bedeutendsten Persönlichkeiten der Filmkomödie. Mit seiner Rolle in Kleiner Mann – ganz groß gelang ihm der nationale Durchbruch als Schauspieler.[1] Er führte beim NS-Propagandafilm Kopf hoch, Johannes! Regie. In diesem NS-Jugendfilm wird der unabhängige, freiheitsliebende Junge Johannes in einer NS- Jugendorganisation, einer Napola-Schule, zu Disziplin und Gehorsam bekehrt. -
Brecht Between Mediums Kristin M. Seifert a Dissertation Submitted
Brecht Between Mediums Kristin M. Seifert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of philosophy University of Washington 2019 Reading committee: Stefka Mihaylova, chair Jennifer Bean, co-chair Scott Magelssen Program Authorized to Offer Degree: Department of Drama ©Copyright 2019 Kristin Seifert University of Washington Abstract Brecht Between Mediums Kristin M. Seifert Chair of the Supervisory Committee: Stefka Mihaylova Department of Drama Is Epic theory solely applicable to live performance? Was German writer and director Bertolt Brecht a champion for the theatre and theatre alone? This dissertation combines analysis of live and recorded performance, historical analysis, Epic theory, film and media theory in order to discuss Brecht’s shifting relationship with film and other multi-medium performance traditions. The historic and theoretical exploration of Brecht both influencing and being influenced by cinematic work seeks to reclaim him as a multi-medium artist and explore a kind of continual flow of Epic theory and technique not merely between Brecht’s cinematic and stage projects but also in the work of his contemporaries, fellow exiled artists during World War II, and a direct line of cinematic careers shaped, to this day, by the Brechtian legacy. The larger scope of this case study questions the allocation of artists, like Brecht, into disciplines and troubles the existing medium-disciplinary hierarchies-separations that negatively affect the ways in which performance is created, viewed and studied. This dissertation, therefore, more broadly examines the segregation of the performing arts within the academic world and scholarly research that maintains a staunchly medium-specific approach that fails to recognize the endless stream of theories and methods that circulate between performance mediums. -
Lancastrians, Tudors, and World War II: British and German Historical Films As Propaganda, 1933–1945
arts Article Lancastrians, Tudors, and World War II: British and German Historical Films as Propaganda, 1933–1945 William B. Robison Department of History and Political Science, Southeastern Louisiana University, Hammond, LA 70402, USA; [email protected] Received: 2 February 2020; Accepted: 3 August 2020; Published: 10 August 2020 Abstract: In World War II the Allies and Axis deployed propaganda in myriad forms, among which cinema was especially important in arousing patriotism and boosting morale. Britain and Germany made propaganda films from Hitler’s rise to power in 1933 to the war’s end in 1945, most commonly documentaries, historical films, and after 1939, fictional films about the ongoing conflict. Curiously, the historical films included several about fifteenth and sixteenth century England. In The Private Life of Henry VIII (1933), director Alexander Korda—an admirer of Winston Churchill and opponent of appeasement—emphasizes the need for a strong navy to defend Tudor England against the ‘German’ Charles V. The same theme appears with Philip II of Spain as an analog for Hitler in Arthur B. Wood’s Drake of England (1935), William Howard’s Fire Over England (1937), parts of which reappear in the propaganda film The Lion Has Wings (1939), and the pro-British American film The Sea Hawk (1940). Meanwhile, two German films little known to present-day English language viewers turned the tables with English villains. In Gustav Ucicky’s Das Mädchen Johanna (Joan of Arc, 1935), Joan is the female embodiment of Hitler and wages heroic warfare against the English. In Carl Froelich’s Das Herz der Königin (The Heart of a Queen, 1940), Elizabeth I is an analog for an imperialistic Churchill and Mary, Queen of Scots an avatar of German virtues. -
The Threepenny Opera
New PUBLICATIONS ARTICLES Adorno, Theodor W. "On Jazz." Discourse:journal ofTheoretical Studies in Media and Culture ,.rn I Y81 wE IL L t:= 12 (Fall-Winter, 1989-90): 39-69. [Introductory comments by Jamie Owen Daniel, pp. 39-44.] Bassi, Adriano. "Kurt Weill e ii Lied." Rassegna musicale curci 43(Gennaio, 1990): 22-25. Krabbe, Niels. "Beggar's Opera gennem 250 fir - fra John Gay til Alan Ayckbourn." Musik & Forskning 14 (1988-89): 5-93. Petazzi, Paolo. "Mahagonny, una favola anticapitalistica." La rivista illustrata del Museo ~KONJUNKTUR ?Lom.~~~ LENYA •KURT WEILL - PIANO - HAPPY END ERNST BUSCH· THEO MAW.BEN teatrale alla Scala 3, no. 6 (Primavera, 1990): 38-43. SIL8£RSEE MAURICE DE ABRAVANEL m BOOKS Hayes, Helen, with Katherine Hatch. My Life i11 Three Acts. New York: Harcourt, Brace, Jova novich, 1990. Hinton, Stephen, ed. Kurt Weill: The Threepenny Opera. The Cambridge Opera Handbook Series. Cambridge: Cambridge University Press, 1990. 10~. Swain.Joseph P. The Broadway Musical; a Critical and Musical Survey.New York: Oxford Uni versity Press, 1990. Weill, Kurt Musik und T11eater; Gesammelte Schriften. Edited by Stephen Hinton and Jiirgen Schebera. Berlin: Henschelverlag, 1990. DISSERTATIONS ,.,.. KU B.J WE I Ll cgccr~ Citron, Atay. "Pageantry and Theatre in the Service of}ewish Nationalism in the United States, 1933-1946." Ph.D. diss., New York University, 1989. [Available from UMI Dissertation Serv DIE DREIGR0SCHENOPER ice.] THE THREEPENNYOPERA Huynh, Pascal. "Kurt Weill et la republique de Weimar: Une vision de !'avant-garde dans la LOTTE UNYA•CAROLA NEHER•LYS GAUTY·ODffiE FLORELLE HARALD PAUL5EN ·KURT CERRON•LEWIS RUTH BAND press (1923-1933)." Ph.D. -
Behind the Mask – Das Verlorene Gesicht (The Lost Face) and Popular German Cinema After World War II
Behind The Mask – Das verlorene Gesicht (The Lost Face) and Popular German Cinema after World War II Tim Bergfelder, Southampton ISSN 1470 – 9570 Tim Bergfelder 64 Behind The Mask – Das verlorene Gesicht (The Lost Face) and Popular German Cinema after World War II Tim Bergfelder This essay analyses the post-war West German psychological women’s melodrama, Das verlorene Gesicht (The Lost Face, 1948), and investigates its international influences (Hollywood and British traditions of melodrama), and the film’s articulation of issues such as gender and national identity through aspects such as cinematography, mise-en- scène, and performance. The essay also places the film within the contexts of developments in film production in post-war Germany, and reassesses it in the context of the career of its director, Kurt Hoffmann. Until very recently, Kurt Hoffmann (1910-2001) mainly featured in historical accounts of German film (if at all) as a quintessential representative of the kind of “Daddy’s cinema” the Oberhausen Manifesto in 1961 rallied against, and that the directors of the New German Cinema of the 1970s wanted to overcome – a tradition condemned as politically conservative and artistically deficient. A recent publication by the German Film Institute (DIF) in Frankfurt has begun to challenge this perception, and to reassess the director’s legacy.1 Hoffmann’s career spanned a large part of German cinema history – the son of Weimar-era cinematographer Carl Hoffmann (who had worked with Fritz Lang and F. W. Murnau), the young filmmaker began his professional life in the early 1930s as an assistant to soon-to-be exiles Erik Charell, Reinhold Schünzel, and Robert Siodmak. -
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Inhaltsverzeichnis 1 Einleitung......................................................................................................................................................1 2 Das Dritte Reich ...........................................................................................................................................6 2.1 Alles wird anders, vieles bleibt gleich: Die ersten Jahre des Dritten Reiches..........................................6 2.1.1 Kunst und Politik im Nationalsozialismus: Ein inniges Verhältnis .....................................................6 2.1.2 Theaterleute im Reich: Eine Standortbestimmung ..............................................................................9 2.1.3 Die Dramaturgie: Was wird hier eigentlich gespielt?........................................................................12 2.1.4 William Shakespeare: Willkommen im Reich !?...............................................................................13 2.1.5 "Wider den undeutschen Geist": Gesellschaftliches Leben 1933 ......................................................18 2.1.6 Das 'artfremde Wesen'? Der Kaufmann von Venedig in Darmstadt, 1933.........................................19 2.2 Es geht auch (fast noch) ohne Shylock: Die Jahre 1935-1938 ...............................................................22 2.2.1 Alles geregelt: Das gesellschaftliche Leben 1935/36 ........................................................................22 2.2.2 Randfiguren: Judendiskriminierung und Der Kaufmann von Venedig -
Information Issued by the Association of Jewish Refugees in Great Britain 8 Fairfax Mansions
Vol. XII No. 3 March. 1957 INFORMATION ISSUED BY THE ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN 8 FAIRFAX MANSIONS. O/fice and Consulting Hours: FINCHLEY ROAD (Corner Fairfax Road), Monday to Thursday 10 a.m.—I p.m. 3—6 p.ni. LONDON. N.W.3 friday 10 a.m.—I p.m. Te/ephone: MAIda Vale 9096/7 (General Office) MAIda Vale 4449 (Employment Atency and Social Services Dept.) A STEP TOWARDS MORAL REPARATIONS ONE YEAR'S ACfflEVEMENTS The period under review at last month's efforts in which the Council of Jews from The London visit of Senator Joachim Lipschitz general meeting was marked by new ventures Germany—of which the AJR is the British f *nd his associates was certainly an unusual event launched by the AJR, and by an extension of constituent—has taken a decisive part. We are °f more than local importance. There is no the Association's general activities. More and still occupied with these-efforts, and a note doubt that it was of great practical value to the more energy has been concentrated on con appearing in this issue illustrates some of the many people who have grievances against the structive work to assist those who, for one problems which the Council has had to take German indemnification authorities, and who wel reason or another, have to turn to the AJR up recently. comed the possibility of getting some first-hand for help and rehabilitation. The period under review was also marked general information and of discussing their per One of the latest examples is the creation by increased information services by the AJR sonal cases. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced 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 reproduced 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. 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 illustratidné 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 9238276 Of literature and legend: German writers and the bombing of Dresden Spencer, Andrew John, Ph.D. The Ohio State University, 1992 300 N.