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Interactive Multimedia Solutions Developed for the Opening of the New Stage of the Alexandrinsky Theatre
Interactive Multimedia Solutions Developed for the Opening of the New Stage of the Alexandrinsky Theatre Nikolay Borisov, Artem Smolin, Denis Stolyarov, Pavel Shcherbakov St. Petersburg National Research University of Information Technologies, Mechanics and Optics, Saint Petersburg State University Abstract. This paper focuses on teamwork by the National Research University of Information Technologies, Mechanics and Optics (NRU ITMO) and the Aleksandrinsky Theatre in preparation of opening of the New Stage of the Alexandrinsky Theatre. The Russian State Pushkin Academy Drama Theatre, also known as the Alexandrinsky Theatre, is the oldest national theatre in Rus- sia. Many famous Russian actors performed on the Alexandrinsky’s stage and many great directors. May 2013 marked the opening of the New Stage of the Alexandrinsky Theatre. The theatre complex comprises three buildings: the new stages building, a media center, and the building housing a center of theatre ed- ucation. Several plays shown simultaneously on multiple stages within the new complex’s buildings constituted the opening gala of the New Stage of the Alexandrinsky Theatre. The works of Fyodor Dostoyevsky were the plays’ uni- fying theme. NRU ITMO employees developed several interactive theatre pro- ject solutions implemented for the opening of the Alexandrinsky Theatre’s New Stage. Keywords: Theatre, Multimedia, Information Technologies, NRU ITMO, SPbGU 1 Introduction The Russian State Pushkin Academy Drama Theatre, also known as the Alexandrinsky Theatre, is the oldest national theatre in Russia. It was founded in 1756 by the Senate’s decree. The history of the Alexandrinsky Theatre is closely linked to some of the most prominent exponents of Russian culture. -
25Th Anniversary
25th Anniversary Montblanc de la Culture 25th Anniversary Montblanc de la Culture Arts Patronage Award Arts Patronage Montblanc de la Culture 25th Anniversary Arts Patronage Award 1992 25th Anniversary Montblanc de la Culture Arts Patronage Award 2016 Anniversary 2016 CONTENT MONTBLANC DE LA CULTURE ARTS PATRONAGE AWARD 25th Anniversary — Preface 04 / 05 The Montblanc de la Culture Arts Patronage Award 06 / 09 Red Carpet Moments 10 / 11 25 YEARS OF PATRONAGE Patron of Arts — 2016 Peggy Guggenheim 12 / 23 2015 Luciano Pavarotti 24 / 33 2014 Henry E. Steinway 34 / 43 2013 Ludovico Sforza – Duke of Milan 44 / 53 2012 Joseph II 54 / 63 2011 Gaius Maecenas 64 / 73 2010 Elizabeth I 74 / 83 2009 Max von Oppenheim 84 / 93 2 2008 François I 94 / 103 3 2007 Alexander von Humboldt 104 / 113 2006 Sir Henry Tate 114 / 123 2005 Pope Julius II 124 / 133 2004 J. Pierpont Morgan 134 / 143 2003 Nicolaus Copernicus 144 / 153 2002 Andrew Carnegie 154 / 163 2001 Marquise de Pompadour 164 / 173 2000 Karl der Grosse, Hommage à Charlemagne 174 / 183 1999 Friedrich II the Great 184 / 193 1998 Alexander the Great 194 / 203 1997 Peter I the Great and Catherine II the Great 204 / 217 1996 Semiramis 218 / 227 1995 The Prince Regent 228 / 235 1994 Louis XIV 236 / 243 1993 Octavian 244 / 251 1992 Lorenzo de Medici 252 / 259 IMPRINT — Imprint 260 / 264 Content Anniversary Preface 2016 This year marks the 25th anniversary of the Montblanc Cultural Foundation: an occasion to acknowledge considerable achievements, while recognising the challenges that lie ahead. Since its inception in 1992, through its various yet interrelated programmes, the Foundation continues to appreciate the significant role that art can play in instigating key shifts, and at times, ruptures, in our perception of and engagement with the cultural, social and political conditions of our times. -
Become More Skillful Every Day. There Is No Limit to Perfection. Hagakure
STRATEGIES FOR BUSINESS IN MOSCOW Become more skillful every day. There is no limit to perfection. Hagakure A PROPOS Robbie Williams was wrong when he referred to a Russian Today, these crimson jackets can only been businessman as “a modern Rasputin” in his famous hit found in museums. Modern Russian businessmen “Party Like a Russian.” But he’s not the only one to think have stopped wearing clothes that were popular so. A lot of businessmen abroad are convinced that doing among their predecessors in the 90s. Along with business in Russia is dangerous because anarchy and their appearance, their attitudes have changed lawlessness reign here. This is in spite of the fact that Russia as well. These days, Russian businessmen want keeps climbing up in the Doing Business rating, which is more than to make a lot of money. According to published every year by the World Bank. In just one year, one representative from the All-Russian Non- Russia jumped from 35th to 31st place. And keep in mind Governmental Organization of Small and Medium- that back in 2012, Russia was in 120th place! Unfortunately, Sized Business Opora Russia, a modern entrepreneur old habits die hard. As Karl Marx once pointed out, is, first and foremost, someone who is open to new “a person’s mind is the strongest fortress.” information. They have a different perspective on the world. Moreover, an entrepreneur's reputation Actually, the times when the first thing a foreign plays a much bigger role than it used to. Honesty and businessman did after coming to Russia was hire a reliability are valued, and partners who have stood bodyguard are long gone. -
Bolton High Gets
MemorisI Dsy ’89 will sperk memories of brave men, women By Nancy Concelman It s a time for reflection on what our country Kowalski was aboard the U.S. Navy ship that ,52-piece group. Manchester Herald .stands for,” Osella said. brought MacArthur back to the Philippines in He and his crewmates helped lead the first While Osella is quietly remembering veterans Those who turn out Monday for Manchester’s 194.5, three years after the Japanese victory over American bombing raid over Tokyo in April 1942 who have .survived, those who have died and those Memorial Day parade will see Parade Marshal American and Filipino forces. by bringing planes within 400 feet of the Tokyo who cannot be found to this day. World War II will Ronald Osella looking snappy in his dress U.S. The USS Nashville was MacArthur’s flagship coast. be remembered in a quiet cemetery off Cider Mill three times during the war. Kowalski said. It was Army Reserve uniform, proudly leading “ We pulled the operation off,” Kowalski said. Road in Andover as veteran William Kowalski marchers and waving at friends. Kowalski's home for part of his eight-year Navy "W e sank two Japane.se ships.” tells his story. career. But Osella. a major in the reserves, will be Kowalski will be one of many speakers, young A Kowalski, 72. was among those who helped Gen A ship’s tailor. Kowalski "sewed and pressed thinking about something other than the bands and old. who will remind citizens in area towns Douglas MacArthur keep his famous promi.se, " I for 1,200 men" and helped start the IR-piece USS CARS and the crowds. -
Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of -
Khanty Mansiysk Autonomous Region Yugra Russia Siberia Россия
Россия Сибирь ХантыМансийский автономный округ Югра KhantyMansiysk Autonomous Region Yugra Russia Siberia ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2007 ОРГКОМИТЕТ ФЕСТИВАЛЯ / ORGANIZING COMMITTEE OF THE FESTIVAL Ìèõàèë Åôèìîâè÷ Øâûäêîé Nail Kashapov Alexey Ovsyannikov Ðóêîâîäèòåëü Ôåäåðàëüíîãî àãåíòñòâà ïî Chief medical officer of the territorial admin- Deputy Chairman of the Government of the êóëüòóðå è êèíåìàòîãðàôèè, ñîïðåäñåäàòåëü istration of Rospotrebnadzor in the Khanty- autonomous district for problems of small îðãêîìèòåòà Mansiysk autonomous district – Yugra nationalities of the North, Director of the Mikhail Shvydkoy Department of the autonomous district for Head of the Federal Agency for Culture and Âÿ÷åñëàâ Ìèõàéëîâè÷ Êîçëîâñêèé problems of small nationalities of the North Cinema, co-chairman of the organizing committee Çàìåñòèòåëü íà÷àëüíèêà Óïðàâëåíèÿ âíóòðåííèõ äåë àâòîíîìíîãî îêðóãà, Çèíàèäà Áîðèñîâíà Ñàõàóòäèíîâà Àëåêñàíäð Âàñèëüåâè÷ Ôèëèïåíêî íà÷àëüíèê ìèëèöèè îáùåñòâåííîé Ïðåäñåäàòåëü Êîìèòåòà ïî âíåøíèì Ãóáåðíàòîð, Ïðåäñåäàòåëü Ïðàâèòåëüñòâà áåçîïàñíîñòè ñâÿçÿì àâòîíîìíîãî îêðóãà àâòîíîìíîãî îêðóãà, ñîïðåäñåäàòåëü îðãêîìèòåòà Vyacheslav Kozlovsky Zinaida Sakhautdinova Alexander Filipenko Deputy Chief of the Department of internal Chairman of the Ñommittee for foreign Governor, Chairman of the Government of affairs of the autonomous district, chief of relations of the autonomous district the Autonomous District, co-chairman police of public safety of the organizing committee Àëåêñàíäð Ïàâëîâè÷ Ñåìåíîâ Àëåêñàíäð Âèòàëüåâè÷ -
Iti-Info” № 5 (20) 2013
RUSSIAN NATIONAL CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE «МИТ-ИНФО» № 5 (20) 2013 “ITI-INFO” № 5 (20) 2013 УЧРЕЖДЕН НЕКОММЕРЧЕСКИМ ПАРТНЕРСТВОМ ПО ПОДДЕРЖКЕ ESTABLISHED BY NON-COMMERCIAL PARTNERSHIP ТЕАТРАЛЬНОЙ ДЕЯТЕЛЬНОСТИ И ИСКУССТВА «РУССКИЙ FOR PROMOTION OF THEATRE ACTIVITITY AND ARTS НАЦИОНАЛЬНЫЙ ЦЕНТР МЕЖДУНАРОДНОГО ИНСТИТУТА ТЕАТРА». «RUSSIAN NATIONAL CENTRE OF THE INTERNATIONAL ЗАРЕГИСТРИРОВАН ФЕДЕРАЛЬНОЙ СЛУЖБОЙ ПО НАДЗОРУ В СФЕРЕ THEATRE INSTITUTE» СВЯЗИ И МАССОВЫХ КОММУНИКАЦИЙ. REGISTERED BY THE FEDERAL AGENCY FOR MASS-MEDIA AND СВИДЕТЕЛЬСТВО О РЕГИСТРАЦИИ COMMUNICATIONS. REGISTRATION LICENSE SMI PI № FS77-34893 СМИ ПИ № ФС77–34893 ОТ 29 ДЕКАБРЯ 2008 ГОДА OF DECEMBER 29TH, 2008 АДРЕС РЕДАКЦИИ: 127055, УЛ. ТИХВИНСКАЯ, 10 EDITORIAL BOARD ADDRESS: 127055, MOSCOW, TIKHVINSKAYA STR., 10 ТЕЛЕФОНЫ РЕДАКЦИИ: +7 (499) 978-26-38, +7 (499) 978-28-52 PHONES: +7 (499) 978 2638, +7 (499) 978 2852 ФАКС: +7 (499) 978-29-70 FAX: +7 (499) 978 2970 ЭЛЕКТРОННАЯ ПОЧТА: [email protected] E-MAIL: [email protected] НА ОБЛОЖКЕ : СЦЕНА ИЗ СПЕКТАКЛЯ SCUM RODEO COVER: SCUM RODEO © CHRISTOPHE RAYNAUD DE LAGE / FESTIVAL D’AVIGNON © CHRISTOPHE RAYNAUD DE LAGE / FESTIVAL D’AVIGNON ФОТОГРАФИИ ПРЕДОСТАВЛЕНЫ ПРЕСС-СЛУЖБАМИ «ГОГОЛЬ-ЦЕНТРА», PHOTOS ARE PROVIDED BY PRESS SERVICES OF GOGOL-CENTER, ТЕАТРА «ШКОЛА СОВРЕМЕННОЙ ПЬЕСЫ», АВИНЬОНСКОГО ФЕСТИВАЛЯ SCHOOL OF MODERN DRAMA THEATRE, AVIGNON FESTIVAL AND MALY И МАЛОГО ДРАМАТИЧЕСКОГО ТЕАТРА, ГЕРМАНОМ ЖИГУНОВЫМ, DRAMA THEATRE, GERMAN ZHIGUNOV, ALEX YOCU, АЛЕКСОМ ЙОКУ, TANIA CONTRERAS, ARTURO ROSALES CHAVEZ, TANIA CONTRERAS, -
The Russian Theatre After Stalin
The Russian theatre after Stalin Anatoly Smeliansky translated by Patrick Miles published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge cb2 1rp, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Original Russian script © Anatoly Smeliansky 1999 English translation © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published in English by Cambridge University Press 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in 9.25/14 pt Trump Medieval [gc] A catalogue record for this book is available from the British Library isbn 0521 58235 0 hardback isbn 0521 58794 8 paperback Contents List of plates ix Foreword xi laurence senelick Preface xix Chronology xxiii Biographical notes xxviii Translator’s note xxxviii 1 The Thaw (1953–1968) 1 The mythology of socialist realism 1 Tolstoy and Dostoyevsky initiate a new Soviet theatre 9 The rise and fall of the Sovremennik Theatre 16 Yury Lyubimov and the birth of the Taganka Theatre 30 Where we came from: Tovstonogov’s diagnosis 46 Within the bounds of tenderness (Efros in the sixties) 58 2 The Frosts (1968–1985) 74 Oleg -
By Zukhra Kasimova Submitted to Central European University Department of History Supervisor
ILKHOM IN TASHKENT: FROM KOMSOMOL-INSPIRED STUDIO TO POST-SOVIET INDEPENDENT THEATER By Zukhra Kasimova Submitted to Central European University Department of History In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Charles Shaw Second Reader: Professor Marsha Siefert CEU eTD Collection Budapest, Hungary 2016 Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection 1 ABSTRACT This thesis aims to research the creation of Ilkhom as an experimental theatre studio under Komsomol Youth League and Theatre Society in the late Brezhnev era in Tashkent, the capital of Uzbek SSR. The research focuses on the controversies of the aims and objectives of these two patronage organizations, which provided an experimental studio with a greater freedom in choice of repertoire and allowed to obtain the status of one of the first non-government theaters on the territory of former Soviet Union. The research is based on the reevaluation of late- Soviet/early post-Soviet period in Uzbekistan through the repertoire of Ilkhom as an independent theatre-studio. The sources used include articles about theatre from republican and all-union press. CEU eTD Collection 2 ACKNOWLEDGEMENTS I am grateful to my research advisor, Professor Charles Shaw, for encouraging me to focus on Soviet theatre developments in Central Asia, as well as for his guidance and tremendous support throughout the research process. -
World Scenography World Scenography
WORLD SCENOGRAPHYWORLD This is the first volume in a new series of books members, it draws together theatre production professionals from looking at significant stage design throughout the around the world for mutual learning and benefit. its working world since 1975. this volume, documenting 1975-1990, has commissions are in the areas of scenography, theatre technology, been about four years in the making, and has had contributions publications and communication, history and theory, education, from 100s of people in over 70 countries. Despite this range of and architecture. both of the editors have worked for many years input, it is not possible for it to be encyclopædic, much as the to benefit theatre professionals internationally, through their editors would like. Neither is the series a collection of “greatest activities in OiStAt. hits,” despite the presence of many of the greatest designs of c the period being examined. instead, the object is to present Peter M Kinnon and Eric Fielding probably met each other at the designs that made a difference, designs that mattered, designs banff School of Fine Arts in the early 1980s, when Peter was on of influence. the current editors plan to do two more volumes faculty and Eric was taking Josef Svoboda’s master class there. documenting 1990-2005 and 2005-2015. they then hope that Neither of them remembers the other. they first worked together others will pick up the torch and prepare subsequent volumes in 1993 when Eric was the general editor of the OiStAt lexicon, each decade thereafter. new Theatre Words, and Peter was an English editor. -
Reading Russia a History of Reading in Modern Russia
Scholars of Russian culture have always paid close attention to texts (eds.) . and their authors, but they have often forgotten about the readers. READING RUSSIA These volumes illuminate encounters between the Russians and their favorite texts, a centuries-long and continent-spanning “love story” Vassena that shaped the way people think, feel, and communicate. The fruit A HISTORY OF READING of thirty-one specialists’ research, Reading Russia represents the first attempt to systematically depict the evolution of reading in Russia from Raffaella IN MODERN RUSSIA the eighteenth century to the present day. and vol. 3 The third volume of Reading Russia considers more recent (and rapid) changes to reading, and focuses on two profoundly transformative Rebecchini moments: the Bolshevik Revolution of 1917, and the digital revolution of Damiano Rebecchini and Raffaella Vassena (eds.) the 1990s. This volume investigates how the political transformations of the early twentieth century and the technological ones from the turn of the twenty-first impacted the tastes, habits, and reading practices of the Russian public. It closely observes how Russian readers adapted to and/or resisted their eras’ paradigm-shifting crises in communication and interpretation. Contributors to volume 3: Evgeny Dobrenko, Abram Reitblat, Jeffrey Damiano Brooks, Thomas Lahusen, Olga Malinovskaya, Denis Kozlov, Josephine Von Zitzewitz, Oleg Lekmanov, Catriona Kelly, Birgit Menzel, Henrike Schmidt, Birgitte Beck Pristed. IN MODERN RUSSIA Dipartimento di Lingue e Letterature Straniere Università degli Studi di Milano READING RUSSIA. OF READING A HISTORY READING RUSSIA. A HISTORY OF READING IN MODERN RUSSIA Volume 3 Edited by Damiano Rebecchini and Raffaella Vassena Dipartimento di Lingue e Letterature Straniere Facoltà di Studi Umanistici Università degli Studi di Milano © 2020 degli autori dei contributi e dei curatori per l’intero volume ISBN 978-88-6705-594-4 illustrazione di copertina: M. -
Social Report 2017 Contents
RATIONALE RESOLUTION RESULT SOCIAL REPORT 2017 CONTENTS Message from CEO 1 Life Line — Lend a Helping Hand 4 Who if not us? Alfa-Banks Volunteer Initiative 8 Victory Day: ‘Memory Watch’ Campaign 42 Art without bounds 50 The Golden Fund for Future Generations 60 International Programs 66 Literature Awards 70 Financial Awareness 74 FIFA 2018 World Cup in Russia™ 82 Alfa Future People 88 Key to Successful Business 92 Contribution to the Common Cause — WWF 98 No matter how challenging Alfa-Bank’s business tasks could be, it will still highlight charity, education, volunteer projects, and support for culture and art. So, we have many important and interesting projects in store to make the world a better place. MESSAGE FROM Alexei Tchoukhlov THE MANAGEMENT Member of the Executive Board, Deputy Chairman of the Executive Board, Chief Financial Officer Alfa-Bank has been a performance and social responsibility leader of the national financial market for many years. We care about charity, volunteer initiatives, cultural and educational projects, look after people in need, and offer our clients a chance to participate. Charity and volunteering have long been part of our corporate culture. This report outlines our most remarkable and important projects of 2017. In 2017, the Bank again promoted music festivals and organized guest performances by Moscow theaters, film festivals and colorful show with the participation of Russian and international stars in various regions of the country. Our sponsorship of ‘Vremya Pervykh’ deserves a special mention. This film features the ‘Hero of the Soviet Union’ and cosmonaut, Alexey Leonov, as the protagonist and consultant, and he made an invaluable contribution to the establishment of our Bank.