Performing Arts with D&B Around the World
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Guangzhou Opera House Erin You Haifeng Pan Jing Zhao Tan Zheng Yuan Ma Overview (Introduction)
Guangzhou Opera House Erin You Haifeng Pan Jing Zhao Tan Zheng Yuan Ma Overview (Introduction) Zaha Hadid’s design won the first prize and was confirmed as the practical one which will become an icon for the Guangzhou City and even accelerate the urbanization of new developing downtown. • Background Information • Design Review • Principle Structure System • Structure Area Division • Interior Space • Auditorium • The Envelope System • Underground Structure and Foundation • Detail • Conclusion Guangzhou Opera House (Background) • The third biggest opera architecture in China • One opera hall (includes main stage, side stage, and back stage) 1,800 seats • One multiple-purpose hall with 400 seats • Foyer, art gallery, restaurant, garage • 70,000 square meters (30,000 square meters underground) • Total construction investment of 200 million dollars The Architect —— Zaha Hadid (Background) • The first woman to win the Pritzker Prize for Architecture • ZAHA HADID has defined a radically new approach to architecture by creating buildings • Multiple perspective points and fragmented geometry to evoke the chaos of modern life. Design Review • Create a new focal point in Guangzhou city • Located downstream of Peal River • Its unique twin boulder design enhances urban function with open access to the riverside and dock areas • Create a new dialogue with the emerging new town • The sheltered area formed in its intersection has been designed to accommodate outdoor activities to complement its primary role as a world stage for the performing arts 0.00 -
The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play. -
The Merry Widow Program, April 29
APRIL 29 - MAY 8 CITI PERFORMING ARTS CENTERSM SHUBERT THEATRE ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR Boston Lyric Opera counts on the generous support of patrons like you who stand up and say: I BELIEVE IN BLO Make a gift today to BLO's Annual Fund and keep opera Sandra Piques Eddy performs in Werther. at the forefront of Boston's T. CHARLES ERICKSON cultural landscape. MAKE A GIFT BY JUNE 30TH Learn more at blo.org/give B | BOSTON LYRIC OPERA THE MERRY WIDOW 2016 WELCOME In 1907, The New York Times announced, “Tomorrow night is coming to town a young person who has attracted an enormous amount of attention in foreign parts and who is expected to attract as much here… Great preparations have been made for her and her wiles are expected to be potent.” The arrival was Franz Lehár’s The Merry Widow. Since its debut, this masterpiece has enthralled and delighted audiences around the world. And the widow herself, Hanna Glawari, has proved to be a woman of substance for generations. Life at the height of the gilded age, or La Belle Époque, aspired to be merry, lavish, and carefree. However, they were all dancing on the precipice of disaster: the Great War. We recognize it in the irresistible cast of characters who seduce, sway and swoon their way to true love or farewell. And we hear it in the unforgettable melodies of a Polish mazurka, the cancan, and, of course, the indelible “Merry Widow Waltz.” Sandra Piques Eddy and Alex Richardson in “ As we refl ect on our time on this venerable stage, we are Boston Lyric Opera's production of Werther. -
Biographies (A-Z) Lecturers and Master Staff
Biographies (A-Z) Lecturers and Master Staff Tommaso Agasisti Tommaso Agasisti is Associate Professor at Politecnico di Milano, Department of Management, Economics and Industrial Engineering (where he teaches Economia e Organizzazione Aziendale and Public Management) and Codirector of I&PA – MIP Politecnico di Milano Graduate School of Business. He is Associate Editor of the academic journal Higher Education Quarterly (HEQ), and member of the editorial board of other two academic journals, Tertiary Education And Management (TEAM) and Educational Researcher (ER). His studies are in the field of Public Economics and Finance, Public Management and Policy, Public Administration, with particular reference to the educational sector. His research is published in several international peer-reviewed academic journals, in both fields of Economics and Education. He also served as consultant for Italian universities and public administrations. Deborah Agostino Deborah Agostino is Assistant professor at Politecnico di Milano (Department of Management, Economics and Industrial Engineering), where she got a Master Degree and a PhD in Management Engineering respectively in 2008 and 2012. She teaches Business Administration at Bs in Biomedical Engineering. She is also lecturer in Management Accounting and Control at MIP (international MBA courses and master courses in the educational area). Her research interests cover mainly two areas: performance management in public networks, with a specific attention to the public transport field. In this area, the design, implementation and use of Key Performance Indicators are the main investigated issues. The second research interest is related to performance measurement in the social media era, with a particular focus on social technologies in the cultural field. -
Student Tours
STUDENT T OUR S BOSTON NEW YORK CITY PHILADELPHIA WASHINGTON, D.C. LOCAL DESTINATIONS HISTORICAL SITES MUSEUMS & MORE! ® LOCAL DAY TRIPS CONNECTICUT CT Science Center Essex Steam Train and Riverboat Mark Twain House/Harriet Beecher Stowe House Seven Angels Theatre Mystic Aquarium Mystic Seaport Shubert Theatre - Educational Programs Wadsworth Athenium Mark Twain House, Hartford, CT MASSACHUSETTS Sturbridge Village Plimoth Patuxet Museum Salem Witch Museum NEWPORT, RI Self-guided Mansion Tours Servant Life Guided Tours Essex Steam Train, Essex, CT Fort Adams Tours NEW JERSEY Medieval Times Liberty Science Center American Dream Mystic Seaport Museum, Mystic, CT Salem Witch Museum, Salem, MA BOSTON Boston has it all for your group! Your DATTCO Tours representative will plan an exciting and interesting day, book all of the attraction visits, and provide you a detailed itinerary! Build your own tour with any of these attractions and more: Museums/Attractions Boston Tea Party Museum Be a part of the famous event that forever changed the course of American history with historical interpreters and interactive exhibits. Franklin Park Zoo John F. Kennedy Presidential Library & Museum Faneuil Hall, Boston, MA Exhibits highlight the life, leadership & legacy of President Kennedy Mapparium at Mary Baker Eddy Library Enter a 30ft glass bridge into a stained glass globe that serves as a historic snapshot of the world as it existed in 1935. Museum of Science New England Aquarium Quincy Market/Faneuil Hall Duck Boat, Charles River, Boston, MA Tours Shows Boston Duck Tours Blue Man Group Fenway Park Tours Boston Ballet Freedom Trail Tour (Guided) Boston Pops Harvard/MIT Tours Boston Symphony Orchestra Whale Watch Tours Broadway Shows in Boston DINING OPTIONS Fire & Ice • Hard Rock Café • Maggiano’s Quincy Market Meal Vouchers • Boxed lunches are also available NEW YORK CITY Experiences Customized Private Tours Broadway Shows NYC Guided Tour Many shows offer special student rates. -
Francesco Rengapresenterà Per La Prima Volta Live Al Francesco Renga: Il 27 Maggio in Pubblico Il Suo Nuovo E Ottavo Disco Di Inediti "L'altra Metà"
GIOVEDì 23 MAGGIO 2019 Mancano solo pochi giorni agli speciali appuntamenti live previsti lunedì 27 maggio all'Arena di Verona e giovedì 13 giugno al Teatro Antico di Taormina in cui Francesco rengapresenterà per la prima volta live al Francesco Renga: il 27 maggio in pubblico il suo nuovo e ottavo disco di inediti "L'Altra Metà". concerto all'Arena di Verona e il 13 giugno al Teatro Antico di «Ritrovarvi tutti a Verona e Taormina sarà la nostra festa. Taormina per presentare al Voi portate il vostro amore e l'entusiasmo? così ce li scambiamo» pubblico per la prima volta il Due prestigiose anteprime, uno spettacolo coinvolgente ed nuovo album "L'Altra Metà" emozionante, una scaletta tutta nuova in cui troveranno spazio anche le indimenticabili hit del repertorio di Francesco ? tutto questo e molto In autunno al via "L'Altra Metà Tour" nei teatri altro ancora faranno di questi 2 show un'esperienza unica e irripetibile! italiani! Per VERONA E TAORMINA LIVE 2019, Francesco sarà accompagnato sul palco dai musicisti Fulvio Arnoldi (chitarra acustica e tastiere),Vincenzo Messina (pianoforte e tastiere), Stefano Brandoni (chitarre), Heggy CRISTIAN PEDRAZZINI Vezzano (chitarre), Phil Mer (batteria) e Gabriele Cannarozzo (basso). [email protected] SPETTACOLINEWS.IT L'album "L'altra metà", prodotto da Michele Canova Iorfida, è composto da 12 brani dal sound e dal linguaggio contemporaneo. Il nuovo album rappresenta l'altra metà della vita, della storia, della musica di Francesco Renga: un altro capitolo, caratterizzato da nuove consapevolezze e forme, sonore e linguistiche. Attuale e variegata anche la scelta degli autori con cui Francesco ha collaborato per la scrittura del nuovo disco: Paolo Antonacci, Bungaro, Cesare Chiodo, Daniele Conti, Simone Cremonini, Antonio Di Martino, Matteo Grandi, Daniele Lazzarin (Danti), Leo Pari, Flavio Pardini (Gazzelle), Rakele, Edwyn Roberts, Luca Serpenti, Davide Simonetta, Patrizio Simonini, Ultimo, Lorenzo Urciullo (Colapesce), Fortunato Zampaglione, Michele Zocca. -
Common Opera Terminology
Common Opera Terminology acoustics The science of sound; qualities which determine hearing facilities in an auditorium, concert hall, opera house, theater, etc. act A section of the opera, play, etc. usually followed by an intermission. arias and recitative Solos sung by one person only. Recitative, are sung words and phrases that are used to propel the action of the story and are meant to convey conversations. Melodies are often simple or fast to resemble speaking. The aria is like a normal song with more recognizable structure and melody. Arias, unlike recitative, are a stop in the action, where the character usually reflects upon what has happened. When two people are singing, it becomes a duet. When three people sing a trio, four people a quartet. backstage The area of the stage not visible to the audience, usually where the dressing rooms are located. bel canto Although Italian for “beautiful song,” the term is usually applied to the school of singing prevalent in the eighteenth and nineteenth centuries (Baroque and Romantic) with emphasis on vocal purity, control, and dexterity blocking Directions given to actors for on-stage movements and actions bravo, brava, bravi An acknowledgement of a good performance shouted during moments of applause (the ending is determined by the gender and the number of performers). cadenza An elaborate passage near the end of an aria, which shows off the singer’s vocal ability. chorus master Person who prepares the chorus musically (which includes rehearsing and directing them). coloratura A voice that can sing music with many rapid notes, or the music written for such a voice with elaborate ornamentation using fast notes and trills. -
Sampling of Careers Within the Performing Arts
Sampling of Careers within the Performing Arts Performing in categories/places/stages including, but not limited to: Broadway Dance Companies International Theatre Short Films Children’s Theatre Documentaries Music Videos Television Commercials Festivals Off-Broadway Touring Companies Community Theatre Film Opera Web Series Cruise Ships Independent Films Regional Theatre West End London Performing arts jobs* including, but not limited to: Actor (27-2011) Dance Academy Owner (27-2032) Mascot (27-2090) Script Writer (27-3043) Announcer/Host (27-2010) Dance Instructor (25-1121) Model (27-2090) Set Designer (27-1027) Art Director (27-1011) Dancer (27-2031) Music Arranger (27-2041) Singer Songwriter (27-2042) Artistic Director (27-1011) Dialect Coach (25-1121) Music Coach (27-2041) Sound Editor (27-4010) Arts Educator (25-1121) Director (27-2012) Music Director (27-2041) Stage Manager (27-2010) Arts Manager (11-9190) Director’s Assistant (27-2090) Music Producer (27-2012) Talent Agent (27-2012) Ballet (27-2031) Drama Coach (25-1121) Music Teacher (25-1121) Casting Agent (27-2012) Drama Critic (27-3040) Musical Composer (27-2041) Technical Director (27-4010) Casting Director (27-2012) Drama Teacher (25-1121) Musical Theatre Musician (27-2042) Technical Writer (27-3042) Choir Director (27-2040) Event Manager (27-3030) Non-profit Administrator (43-9199) Theatre Company Owner (27-2032) Choir Singer (27-2042) Executive Assistant (43-6011) Opera Singer (27-2042) Tour Guide (39-7011) Choreographer (27-2032) Fashion Model (27-2090) Playwright (27-3043) -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
STEPHEN COSTELLO in an EVENING of BEL CANTO ARIAS
MEDIA RELEASE: October 2, 2019 CONTACT: Katie Syroney, Interim Communications Director (513) 768-5526 or [email protected] Editors’ note: Images available upon request. CINCINNATI OPERA PRESENTS METROPOLITAN OPERA STAR STEPHEN COSTELLO in AN EVENING OF BEL CANTO ARIAS Considered to be “among the world’s best tenors” (Daily Express, UK), Costello performs opera favorites at Memorial Hall Oct. 29 CINCINNATI—Cincinnati Opera proudly presents world-renowned tenor Stephen Costello in a special concert event this fall. On Tuesday, October 29, Costello will perform an evening of opera favorites in the beloved bel canto (Italian for “beautiful singing”) style, including excerpts from The Elixir of Love, Rigoletto, Lucia di Lammermoor, and more. The concert reunites Costello with Cincinnati Opera after his acclaimed performances as Rodolfo in La Bohème (2010) and Alfredo in La Traviata (2012). The event also celebrates the recent release of Costello’s first solo album, A Te, O Cara, a collection of bel canto arias by Donizetti, Verdi, and Bellini on the Delos label. “A prodigiously gifted singer whose voice makes an immediate impact” (Associated Press), Stephen Costello stands “among the world’s best tenors” (Daily Express, UK). The Philadelphia-born artist came to national attention in 2007, when, aged 26, he made his Stephen Costello Metropolitan Opera debut on the company’s season-opening night. Photo: Merri Cyr Two years later, Costello won the opera industry’s prestigious Richard Tucker Award, and he has since appeared at many of the world’s most important opera houses and music festivals, including London’s Royal Opera House, Deutsche Oper Berlin, Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and the Salzburg Festival. -
The Role of Indian Dances on Indian Culture
www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts. -
Accessible Opera: Overcoming Linguistic and Sensorial Barriers
This is a post-print version of the following article: Orero, Pilar; Matamala, Anna (2007) Accessible Opera: Overcoming Linguistic and Sensorial Barriers. Perspectives. Studies in Translatology, 15(4): 427-451. DOI: 10.1080/13670050802326766 http://www.tandfonline.com/doi/full/10.1080/13670050802326766#.U0afL-Z_sWU Accessible Opera: Overcoming Linguistic and Sensorial Barriers The desire to make media available for all has been rapidly accepted and implemented by most European countries. Opera, as one of the many audiovisual representations, also falls under the category of production which needs to be made accessible and this article aims to analyse how opera has gone through a complete transformation to become a cultural event for all, overcoming not only linguistic but also sensorial barriers. The first part of the article analyses the various forms of translation associated with opera and the main challenges they entail. The second presents different systems used to make opera accessible to the sensorially challenged, highlighting their main difficulties. Examples from research carried out at the Barcelona’s Liceu opera house are presented to illustrate various modalities, especially audio description. All in all, it is our aim to show how translated-related processes have made it possible to open opera to a wider audience despite some initial reluctance. 1. Overcoming linguistic barriers Performing opera in the source language or in the language of the audience has been a major discussion in the literature of Translation Studies —and references are found from as distant fields as Music Studies and as early as the beginning of the 20th century (Spaeth 1915), but it is Nisato (1999:26) who provides a comprehensive summary of the current three possibilities in opera performance, which in our opinion can perfectly coexist: “performing the opera in its original language and provide the listener with either a synopsis or translated libretto, to perform in the original language and make use of surtitles, or to perform a sung translation of the work”.