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San Giorgio Lettera UK 15=ITA
Lettera da San Giorgio Lettera da San Year VIII, n° 15. Six-monthly publication. September 2006– February 2007 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata Indice Contents I Programmes (September 2006 – February 2007) 3 Editorial 4 Main Future Activities Exhibition Amarti ora e sempre. Eleonora Duse and Francesca da Rimini 5 The Backdoor or Le Salon des Refusés or All the Feasts at Temple (of rare music) 6 Exhibition Fantasy Heads in 18th-century Venetian Painting 7 The Dialoghi di San Giorgio Martyrs. Testimonies of faith, cultures of death and new forms of political action 9 Second World Conference on The Future of Science. Evolution 9 Dance from Indonesia Workshop on Javanese court dance by Pak Widodo Kusnantyo 10 Conference Andrea Zanzotto – from Soligo to the Venice Lagoon 11 Science Festival Le Parole del Mare. A voyage in science and culture with the Atlante Linguistico del Mediterraneo 12 Course on performing vocal music Nostalgic distance utopian future. Madrigal for several “caminantes” with Gidon Kremer, for violin 8-track tape (1988-1989) 13 “10 August 1806 Suppression of the monastery of San Giorgio” Conference for the Bicentenary promoted by the Benedictine Abbey of San Giorgio Maggiore and Ca’ Foscari University, Venice 13 Music from Bulgaria Seminar “in viva voce” 10. Female Polyphonic Singing from Bulgaria Concert by the group Bitrishki Babi 14 International Conference Literature from both sides of the Adriatic 15 13th International Seminar on Ethnomusicology Ethnomusicology and contemporary music 15 Books at San Vio 16 Collections The drawings in the Certani Collection at the Giorgio Cini Foundation 20 Projects and Research The new Manica Lunga 24 Presences on San Giorgio The monastery after the Napoleonic measures of 1806 27 Publications III – IV Contacts Editorial The second half of the 2006 promises to be an interesting and lively time thanks to a series of now traditional major initiatives. -
Acting Hysteria: an Analysis of the Actress and Her Part
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 1992 Acting Hysteria: An Analysis of the Actress and Her Part Lydia Stryk The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4291 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 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. -
San Giorgio Lettera 11 UK 2
Lettera da San Giorgio Lettera da San Year VI, n° 11. Six-monthly publication. September 2004– February 2005 Spedizione in A.P. Art. 2 Comma 20/C Legge 662/96 DC VE. Tassa pagata / Taxe perçue Indice Contents I - II Programmes (September 2004 – February 2005) 3 Editorial 4 Main Future Activities Exhibition Tiepolo. Ironia e comico 5 Exhibition Good and Bad Government. Images in the Arts from the Middle Ages to the 20th century 6 I Dialoghi di San Giorgio Atmospheres for freedom. Towards an ecology of good government 7 XX European Seminar in Ethnomusicology (ESEM) 7 1st Korea-Italy Poetry Forum Korean and Italian Poetic Voices: the Quest for Peace 8 Homage to Alain Daniélou 8 International Conference In history and beyond history. Armenians and Turks: a thousand years of relations 9 International Conference Troubadours in Venice and the Veneto 10 Exhibition The Myth of the Phoenix – East and West 10 Homage to Gino Gorini 11 Oriental Meetings Sanctity in Islam 12 Traditional Music from Persia. An intensive course of Zarb by Djamchid Chemirani 13 Conference Luigi Nono. Music and political commitment in the second half of the 20th century 13 Concert in memory of Oscar Mischiati 14 11th International Seminar on Ethnomusicology Ethnomusicology and popular music studies: what possible convergence? 14 “Specialising on San Giorgio”. The European Social Fund Projects 15 The Sacher Project. Accademia Musicale di San Giorgio 16 Collections The Cini Foundation drawings and caricatures by the Tiepolo and Zanetti 18 Portraits of Patrons Like father like daughter: Yana Cini Alliata 20 Presences on San Giorgio Maria Teresa Muraro 22 Publications III – IV Contacts Editorial The year 2004 has brought some important anniversaries both for the Giorgio Cini Foundation and the city of Venice. -
In the Shadow of the French Revolution: Theatre Life of Venice
M. KOCIĆ, M. VASILJEVIĆ • IN THE SHADOW OF THE FRENCH REVOLUTION UDK 782(450Benetke) "1789-1792" DOI: 10.4312/mz.55.1.97-110 Marija Kocić Maja Vasiljević Filozofska fakulteta, Univerza v Beogradu Faculty of Philosophy, University of Belgrade In the Shadow of the French Revolution: Theatre Life of Venice according to Marco Foscari V senci francoske revolucije: gledališko življenje Benetk po mnenju Marca Foscarija Prejeto: 18. november 2018 Received: 18th November 2018 Sprejeto: 1. marec 2019 Accepted: 1st March 2019 Ključne besede: Benetke, gledališče, opera, fran- Keywords: Venice, theatre, opera, French Revo- coska revolucija, La Fenice lution, La Fenice IZVLEČEK ABSTRACT Prispevek temelji v prvi vrsti na korespondenci This paper was primarily based on correspondence Marca Foscarija IV., člana ugledne plemiške of Marco Foscari IV, member of respectable patrici- družine, ki je med letoma 1789 in 1792 služil kot an family who served from 1789 to 1792 as Captain Kapitan Raspa, majhne istoimenske trdnjave v Istri. Raspa of a small fortress in Istria. His correspon- Njegovo dopisovanje in obvestila, ki jih je prejemal dence with close friends discloses opportunities od dobrih prijateljev, neposredno razkrivajo raz- in Venice, as well as events related to its nightlife lične priložnosti v Benetkah, kot tudi dogodke iz in which the theatre, along with opera, played the beneškega nočnega življenja, v katerem je imelo dominant role. Its focus is research on influence of gledališče, skupaj z opero, glavno vlogo. Prispe- French Revolution on Venetian theatre and opera. vek se osredinja na raziskovanje vpliva francoske In search for micro level of analysis, authors put revolucije na beneško gledališče in opero. -
— Da Gabriele D'annunzio a Eleonora Duse Ovvero Dal Fuoco Alle Laudi
A ELEONORA DUSE GABRIELE D’ANNUNZIO DA Italianistica 3 — Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco MARIANO alle Laudi Emilio Mariano a cura di Maria Rosa Giacon Edizioni Ca’Foscari Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Italianistica Collana diretta da Tiziano Zanato 3 Edizioni Ca’Foscari Italianistica Direttore Tiziano Zanato (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Alberto Beniscelli (Università di Genova, Italia) Giuseppe Frasso (Università Cattolica di Milano, Italia) Pasquale Guaragnella (Università di Bari, Italia) Niva Lorenzini (Università di Bologna, Italia) Cristina Montagnani (Università di Ferrara, Italia) Matteo Palumbo (Università di Napoli, Italia) Carla Riccardi (Università di Pavia, Italia) Lorenzo Tomasin (Università di Losanna, Svizzera) Comitato di redazione Saverio Bellomo (Università Ca’ Foscari Venezia, Italia) Ilaria Crotti (Università Ca’ Foscari Venezia, Italia) Serena Fornasiero (Università Ca’ Foscari Venezia, Italia) Pietro Gibellini (Università Ca’ Foscari Venezia, Italia) Daria Perocco (Università Ca’ Foscari Venezia, Italia) Ricciarda Ricorda (Università Ca’ Foscari Venezia, Italia) Silvana Tamiozzo (Università Ca’ Foscari Venezia, Italia) Piermario Vescovo (Università Ca’ Foscari Venezia, Italia) Direzione e redazione Dipartimento di Studi Umanistici Palazzo Malcanton Marcorà Dorsoduro 3484/D 30123 Venezia http://edizionicafoscari.unive.it/col/dbc/20/Italianistica Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano -
Lettera Da San G Iorgio
Lettera da San Giorgio Lettera da San Year XIX, number 37. Six-monthly publication. September 2017 – February 2018 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata / Taxe perçue PROGRAMMES (SEPTEMBER – FEBRUARY 2017) 12 MAY 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 30 NOV 2018 Le Stanze del Vetro Installation Qwalala by Pae White 1 SEP – 15 NOV 2017 VENICE, PALAZZO CINI GALLERY AT SAN VIO Exhibition Lyda Borelli: A Leading Lady of the 20th Century 4 SEP VENICE, TEATRO LA FENICE 19, 21, 22 SEP VENICE, LA CASA DEL CINEMA – VIDEOTECA PASINETTI 8 NOV 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Cinema Series Lyda Borelli: Film Diva 9 SEP – 16 DEC 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Lo Squero Auditorium Concert Season 2017 10–17 SEP 2017 VENICE, VARIOUS VENUES The Venice Glass Week 11 SEP 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 7 JAN 2018 Le Stanze del Vetro Exhibition Vittorio Zecchin: Transparent Glass for Cappellin and Venini 12–15 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Dialoghi di San Giorgio What’s the Body of the Body Politic? Sovereignty, Identity, Ecology 21–22 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Thirteenth World Conference on the Future of Science The Lives to Come 4, 10, 18 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Books at San Giorgio 9–13 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE The Egida Sartori and Laura Alvini Early Music Seminars Roman de Fauvel. Music and Corruption in the Paris of Philip the Fair. -
Pizzinato.Pdf
CENTRO INTERUNIVERSITARIO DI STUDI VENETI * BIBLIOTECA VENETA CARTE DEL CONTEMPORANEO a cura di silvana tamiozzo goldmann 3 Con « Carte del Contemporaneo » si inaugura, per il Centro Interuniversitario di Studi Veneti, una nuova stagione. « Biblioteca veneta » si trasforma: non piú (non soltanto) collezione di edizioni e di ricerche letterarie e filologiche, ma sistema ar- ticolato dell’intera attività del CISVe. Sotto la sua ombra protettiva si vogliono svi- luppare, in forma di collane, progetti editoriali dedicati ad ambiti diversi ma tutti ancorati alla storia e alla cultura delle Venezie: oltre agli studi sulla testualità lette- raria Antico Regime e moderna (terreno abituale degli studiosi che finora hanno alimentato il palchetto della nostra collezione), la ricerca sulla letteratura contem- poranea, sui fondi librari (manoscritti e a stampa), sulle fonti d’archivio, sulla storia linguistica e socio-culturale. «Carte del Contemporaneo » è la prima di queste collane, dedicata alla ricerca sulla cultura del Novecento veneto, vista attraverso una lente particolare, i docu- menti d’archivio; essa nasce innanzitutto come estensione editoriale dell’Archivio omonimo, creato per impulso di Silvana Tamiozzo Goldmann e di Francesco Bru- ni, e ospitato nella sede del CISVe, dove oggi sono conservati, per la comunità degli studiosi, i fondi Ernesto Calzavara, Pier Maria Pasinetti, Armando Pizzinato, Carlo Della Corte. La collana intende essere il luogo in cui filologia materiale, critica genetica e ana- lisi letteraria possano agire perché le pratiche della catalogazione e della conserva- zione dei beni d’archivio siano anche il lievito vitale della ricezione critica di testi e autori; essa ospiterà quindi edizioni di inediti e di epistolari, studi filologici e critici, repertori catalografici, che abbiano come oggetto le carte inedite depositate nel- l’Archivio, e come fine la loro interpretazione e valorizzazione. -
10 Pittori E 10 Incisori Trentini Del XX Secolo
10 pittori e 10 incisori trentini del XX secolo : problematica artistica di 3 generazioni : Roma, Palazzo delle Esposizioni, giugno-luglio 1971 : Trento, Palazzo Pretorio, settembre-ottobre 1971 / Comitato trentino per la diffusione della cultura. - Roma : Arti grafiche Privitera, [1971?]. - [19], 111 p. : ill. ; 24 cm. 100 opere di van Dyck : catalogo della mostra : Genova Palazzo dell'Accademia, giugno-agosto 1955. - Genova : AGIS, 1955. - 54 p., [50] c. di tav. ; 24 cm. 105 opere di Antonio Mancini : mostra commemorativa sotto gli auspici della Reale Accademia d'Italia nel decennale della morte : marzo 1940-18. - [S.l. : s.n.], 1940 (Torino : Società editrice Torinese). - 27 p., [30] c. di tav. ; 25 cm. In testa al front.: Mostre d'arte della Gazzetta del Popolo. - Catalogo della mostra tenuta a Torino nel 1940. 300 dipinti di maestri contemporanei in vendita : esposizione dal 14 al 22 marzo, asta, 23-24-25 marzo alla Brera Galleria d'arte, Milano. - Milano : Galleria Centro Brera, 1964. - [68] c. : in gran parte ill ; 24 cm. Catalogo della mostra. 300 dipinti di maestri contemporanei in vendita : esposizione dal 23 al 31 marzo, asta, 1-2-3 aprile alla Brera Galleria d'arte, Milano. - Milano : Brera Galleria d'arte, 1963. - [69] c. : ill. ; 24 cm. Catalogo della mostra. 300 dipinti di maestri contemporanei in vendita : esposizione dall'1 al 9 giugno 1963, asta, 10-11-12 giugno alla Brera Galleria d'arte. - Milano : Brera Galleria d'arte, 1963. - [54] c. : in gran parte ill. ; 24 cm. Catalogo della mostra. 300 dipinti e disegni di maestri contemporanei in vendita : esposizione dal 10 al 25 marzo, asta, 26-27-28 marzo alla Brera Galleria d'arte, Milano. -
Eva Le Gallienne Led a Private Life Troubled by Her Personal Struggle with Les- Bianism
Harbin_Text.qxd 12/3/2004 12:50 PM Page 252 Laurents’s ability to direct is more often lauded than his writing. He regularly unites all elements of the production—music, voice, setting, movement, and picturization—to create vibrant dramatic moments. The understanding of structure and character honed in his writing assists in drawing out fully human characterizations. His ability to ‹nd new or Laurents underutilized talent—Jane Fonda in Invitation to a March, Lansbury in 252 Anyone Can Whistle, George Hearn in La Cage aux Folles—signi‹es an astute eye and ensures his lasting in›uence. A very sexual man—his ‹rst gay experience was at thirteen and he was more interested in quantity of partners than quality for many years— Laurents struggled with his homosexuality in psychotherapy, keeping it out of his play Heartsong (1946) and claiming that he would have excluded it as a subtext from Home of the Brave (Laurents, 65, 53). At the same time, he accepted his homosexuality and is proud of how “truth- fully” it was treated in his ‹rst movie, Rope (131). There are biographical aspects of his work to explore (particularly in The Enclave), as well as the- matic obsessions, such as the ‹gure of the complicated, boyish blond (i.e., the major in Home of the Brave, the disillusioned artist in Time of the Cuckoo, the characters played by Hatcher, and Robert Redford’s Hubbell in The Way We Were). Laurents has identi‹ed his own recurrent themes as discovery, acceptance, prejudice, and betrayal (4)—themes with which any homosexual can empathize. -
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Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) Between Ordine and Capriccio Gothic Architecture in the Theatre of the Enlightenment Anna Korndorf Department of Fine arts and architecture State Institute for Art Studies Moscow, Russia E-mail: [email protected] Abstract—The perception and rethinking of the “dark said of their links to real architecture in the succeeding years, Middle Ages” in the period of Enlightenment largely determined almost nothing is known of their previous history on the stage. the interpretation of the present, and expectations for the future. That was why the appearance of Gothic images and motifs on the By the middle of the eighteenth century European court theatre stage was not just another phase in the history of art and theatre had developed its own universal iconographic tradition architecture or a fad for the “Gothic taste”, but also a factor of that permitted, in a few strictly controlled instances, the use of political propaganda geared to public opinion and domestic and Gothic imagery and motifs. It might perhaps be curious to look foreign policies. What did the 18th-century theatre-goers and at them in the context of the symbolic function of Gothic taste stage decorators perceive as “Gothic”? How did the “settings”, within the world of real Enlightenment building practice. iconographic tradition and predilections of European playwrights and librettists change over the Age of Enlightenment? The few scholars of theatrical Gothic [1, 2, 3, 4] (if it can The article looks at these and other nuances of Gothic motifs’ truly be distinguished as a separate object of study) have not invasion of the ephemeral architecture of the theatre stage. -
King's Research Portal
King’s Research Portal DOI: 10.1080/13555502.2017.1285810 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Saunders, H. (2017). Sex, Fashion, Work: James Joyce and the Late-Victorian Actress. JOURNAL OF VICTORIAN CULTURE, 22(2), 166-182. https://doi.org/10.1080/13555502.2017.1285810 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
104 Nordic Theatre Studies Vol. 27: No. 1 ABSTRACT Te Transnationalism
ABSTRACT !e Transnationalism of Swedish and Russian National !eatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of thea- tre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. !e general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. !e historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. !e monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II di"ered somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and di"erences between their two theatres.