部分热门景区参考TOP Attractions

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部分热门景区参考 TOP Attractions 官方价格 The London Eye 伦敦眼 £30.00 Madame Tussauds 杜莎夫人蜡像馆 £35.00 Westminster Abbey 威斯敏斯特大教堂 £24.00 Tower Bridge Exhibition 伦敦塔桥 £10.60 St. Paul’s Cathedral 圣保罗大教堂 £20.00 City Cruises Thames River Pass 泰晤士河游船 £20.25 Royal Albert Hall Tour 皇家阿尔伯特音乐厅之旅 £15.00 Churchill Rooms 丘吉尔作战室内 £23.00 1 Day Hop on Hop off tour 随上随下巴士 £34.00 Hampton Court Palace 汉普顿宫 £24.50 DreamWorks Tours Shrek's Adventure 史瑞克冒险乐园 £22.50 Shakespeare's Globe Exhibition & Theatre Tour 莎士比亚环球剧场 £17.00 SEA LIFE London Aquarium 海洋水族馆 £26.50 HMS Belfast 贝尔法斯特 £19.00 Royal Botanic Gardens, Kew 英国皇家植物园 £18.00 Wembley Stadium Tour 温布利球场之旅 £24.00 Planet Hollywood® £23.50 Royal Observatory Greenwich £18.00 Chelsea FC Stadium Tour £27.00 Cutty Sark £17.00 Banqueting House £7.50 Kensington Palace £21.50 Emirates Arsenal Stadium Tour £25.00 BODY WORLDS London £25.00 Brit Movie Tours £12.00 The Kia Oval Ground Tour £15.00 Museum of Brands, Packaging and Advertising £9.00 Florence Nightingale Museum £8.00 V&A Museum - Exhibition (free access to one temporary exhibition) £18.00 The London Dungeon £24.00 NEW The Garden Musem (Available from April 1 2020) £10.00 NEW London Transport Museum Available from April 1 2020 £18.00 NEW Pollock's Toy Museum (Available from April 1 2020) £8.00 NEW Old Royal Naval College Available from April 1 2020 £12.00 NEW The Guards Museum (Available from April 1 2020) £8.00 NEW ZSL - London Zoo Available from April 1 2020 £32.50 NEW The Museum of London (Available from April 1 2020) Free guide NEW Household Cavalry Museum Available from April 1 2020 £9.00 NEW Imperial War Museum (Available from April 1 2020) Free guide NEW Freud Museum Available from April 1 2020 £10.00 NEW London Bycicle Tour (Available from April 1 2020) £29.95 NEW ArcelorMittal Orbit Available from April 1 2020 £12.50 NEW Benjamin Franklin House (Available from April 1 2020) £8.00 NEW Curzon Cinema (Soho, Bloomsbury or Mayfair) Available from April 1 2020 £18.00 NEW National Gallery (Available from April 1 2020) Free guide NEW The Monument to The Great Fire of London Available from April 1 2020 £5.40 NEW Museum of London Docklands (Available from April 1 2020) Free guide NEW The Old Operating Theatre Museum and Herb Garret Available from April 1 2020 £6.50 NEW Florence Nightingale Museum (Available from April 1 2020) £9.00 NEW Bicester Village Shopping Express Available from April 1 2020 £28.00 NEW National Maritime Museum Greenwich (Available from April 1 2020) £6.50 NEW Beefeater Gin Distillery Available from April 1 2020 £18.00 NEW The Postal Museum (Available from April 1 2020) £16.00.

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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
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Freud's House
Freud’s House: The Double Mirror Dr Anneke Pettican | Brass Art Freud’s House: The Double Mirror Dr Anneke Pettican | Brass Art To explore the idea of the uncanny using strategies of visual and sonic repetition and simultaneous ‘doublings’, seeking Project a physical manifestation in the unsettling experience of the mirrored projection and its intimate binaural soundtrack Description as manifest in the final installation. Freud’s House: The Double Mirror (2015) is a video work with binaural soundtrack created at the Freud Museum, London that seeks to explore a fundamental instability akin to an expanded view of the uncanny. The work exists in two forms: a single screen work with binaural sound titled Freud’s House: The Double (2015); and a two screen, floating, suspended video installation with binaural sound transmitted to wireless headphones titled Freud’s House: The Double Mirror (2015). Project Duration: Research began in 2014. Brass Art began the project in 2015 and first installed the artefact at The International 3 from 17th September – 30th October 2015. Funder: Freud’s House: The Double Mirror has been widely exhibited and screened across Europe and Asia, and its themes have been further developed in journal articles, essays and conference symposia. Brass Art is the collaborative art practice of: Chara Lewis Manchester School of Art – MMU, Kristin Mojsiewicz Edinburgh College of Art – The University of Edinburgh, and Anneké Pettican School of Art, Design, Architecture – University of Huddersfield. Brass Art have collaborated since 1999 and exhibit nationally and internationally. Research Partners, consultants, collaborators: Freud Museum, London University of Salford - the Commission to Collect Programme Arts Council England - the Commission to Collect Programme Manchester Metropolitan University (MMU) Edinburgh College of Art (ECA) at University of Edinburgh (UoE) University of Huddersfield (UoH) Freud’s House: The Double Mirror (2015) Installation with binaural headphones, 4minutes 15s loop, International3 Gallery, Salford.
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By Mike Klozar Have You Dreamed of Visiting London, but Felt It Would
By Mike Klozar Have you dreamed of visiting London, but felt it would take a week or longer to sample its historic sites? Think again. You can experience some of London's best in just a couple of days. Day One. • Thames River Walk. Take a famous London Black Cab to the Tower of London. The ride is an experience, not just a taxi. (15-30 min.) • Explore the Tower of London. Keep your tour short, but be sure to check out the Crown Jewels. (1-2 hrs.) • Walk across the Tower Bridge. It's the fancy blue one. (15 min.) From here you get the best view of the Tower of London for photos. • Cross over to Butler's Wharf and enjoy lunch at one of the riverfront restaurants near where Bridget lived in Bridget Jones's Diary. (1.5 hrs.) • Keeping the Thames on your right, you'll come to the warship HMS Belfast. Tours daily 10 a.m.-4 p.m. (30 min.-1 hr.) • Walk up London Bridge Street to find The Borough Market. Used in countless films, it is said to be the city's oldest fruit and vegetable market, dating from the mid-1200s. (1 hr.) • Back on the river, you'll discover a tiny ship tucked into the docks: a replica of Sir Francis Drake's Golden Hind, which braved pirates in the days of yore. (15 min.) • Notable London pubs are situated along the route and are good for a pint, a cup of tea and a deserved break. Kids are welcome.
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Archiving the Arts Survey Results Theatre and Performance 2013
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With the London Pass Entry Fee Entry Fee TOP ATTRACTIONS Tower of London + Fast Track Entrance £22.00 £10.00 Westminster Abbey £20.00 £9.00
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1 | Page the EVOLUTION of 'IMMERSIVE
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Location of Other Archival Material Relating to Psychoanalysis
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Susan Hiller Solo Exhibitions 2019 Making Visible [Susan Hiller, Anna Barriball], Galeria Moises Perez de Albeniz, Madrid, Spain Re-collections [Susan Hiller, Elizabeth Price, Georgina Starr], Site Gallery, Sheffield, England Die Gedanken sind Frei, Serralves Museum, Porto, Portugal 2018 Susan Hiller: Altered States, Polygon Gallery, Vancouver, Canada Susan Hiller: Social Facts, OGR, Turin, Italy Lost and Found & The Last Silent Movie, Sami Center for Contemporary Art, Norway 2017 Susan Hiller: Paraconceptual, Lisson Gallery, New York, USA 2016 Susan Hiller: Magic Lantern, Sursock Museum, Beirut, Lebanon Susan Hiller: Lost and Found, Perez Art Museum, Miami, USA Susan Hiller: Aspects of the Self 1972-1985, MOT International, Brussels, Belgium Susan Hiller: The Last Silent Movie, Frac Franche-Comté, Besancon, France 2015 Susan Hiller, Lisson Gallery, London, England 2014 Channels, Den Frie Centre of Contemporary Art, Copenhagen, Denmark Resounding (Infrared), Summerhall, The Edinburgh Art Festival, Scotland Susan Hiller, The Model, Sligo, Ireland Channels, Samstag Foundation, The Adelaide Festival, Australia Hiller/Martin: Provisional Realities (2 person: with Daria Martin), CCA Wattis Institute for Contemporary Arts, San Francisco, USA Speaking In Tongues (3 person: with Sonia Boyce and Pavel Buchler), CCCA, Glasgow, UK Can You Hear Me? (2 person: with Shirin Neshat), Golden Thread Gallery, Belfast, Northern Ireland Sounding, The Box, Pippy Houldsworth Gallery, London, England Susan Hiller, Les Abattoirs, Festival International d'Art de Toulouse, France 2013 Channels, Matt’s Gallery, London Channels, Centre d’Art Contemporain La Synagogue de Delme, Delme, France 2012 Susan Hiller: From Here to Eternity, Kunsthalle Nürnberg, Germany Psi Girls, University Art Gallery, San Diego State University, San Diego, USA 2011 Susan Hiller, Tate Britain, London, England (ex.
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Freud Museum Access Policy 2016
Freud Museum Access Policy 2016 The Freud Museum is committed to maximising access for everyone. Access is made possible when physical, cultural, social, financial, intellectual, psychological and emotional barriers to learning from and enjoyment of the museum are reduced or overcome. We want people, regardless of ability, age, gender, cultural or social background, sexual orientation, faith, language, location or wealth, to engage with the museum, its collections, services, facilities and website as fully as possible. We aim to continually improve access as resources permit. This policy relates to access by our users and does not cover access in relation to staff, contractors, freelancers or volunteers. Our commitment to accessibility 1. Our policy is to build accessibility into everything that we do to develop and improve the museum. We consider: Physical access – the ability of people with physical disabilities to reach and appreciate every part of the museum. The needs of the elderly and of people caring for young children are considered as physical access issues. Blue badge holders can book a parking space at the museum in advance by calling the museum on 020 7435 2002. The ground floor with the key room, Freud’s study, is fully accessible by wheelchair. The first floor (with the Anna Freud Room, Video Room and Exhibition Room) is not currently accessible as there is no lift. Visitors who cannot access the first floor can request a laptop from the front desk, and can view the film, as well as reading all of the text panels upstairs, and photographs of objects if required (also available online) Seating is available by the front door, next to the coffee machine.
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1/137 Research Report 1997-1999 One of the Vital Activities of Any National Museum Is Research. the Myriad Public Functions of A
Research Report 1997-1999 One of the vital activities of any national museum is research. The myriad public functions of a modern museum are dependent on sound knowledge of the objects in the museum's care. Research allows the Victoria and Albert Museum to play a role with the creative industries; it underpins education programmes that render the collections meaningful to school children, students and distance learners; it enables the giving of pleasure to a mass audience. Scholarship, alongside collections management and conservation, guarantees the continued prosperity of the nation's heritage. This report covers a three-year period in which hundreds of exhibitions, books, journal articles and electronic publications have made available a vast amount of scholarly material. Victoria and Albert Museum specialists on the art and design of the last thousand years, across all continents, have continuously published ground-breaking research in significant quantities. Apart from the individual efforts of the Museum's major scholars, perhaps a particularly impressive aspect of the research effort in this period has been the collaborative projects undertaken with universities and museums in Britain and abroad. They include topics as varied as Gothic art, historic tapestries, Anglo-Indian furniture, the Victorians, modern product design and electronic media. As research becomes more interdisciplinary, and technology becomes more central, so the methods of research progress. This report shows that a powerful and varied research culture remains one of the distinguishing characteristics of the V&A. It reports on the last years of the 20th century. I think we can all be assured that the research effort will continue and will enlighten the new century as much as it did the old one.
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