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Journal articles on the topic 'Craig and Gordon models'

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Author: Grafiati

Published: 6 September 2023

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1

Dar, Shaakir Shabir, Prosenjit Ghosh, Ankit Swaraj, and Anil Kumar. "Craig–Gordon model validation using stable isotope ratios in water vapor over the Southern Ocean." Atmospheric Chemistry and Physics 20, no. 19 (October 6, 2020): 11435–49. http://dx.doi.org/10.5194/acp-20-11435-2020.

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Abstract. The stable oxygen and hydrogen isotopic composition of water vapor over a water body is governed by the isotopic composition of surface water and ambient vapor, exchange and mixing processes at the water–air interface, and the local meteorological conditions. These parameters form inputs to the Craig–Gordon models, used for predicting the isotopic composition of vapor produced from the surface water due to the evaporation process. In this study we present water vapor, surface water isotope ratios and meteorological parameters across latitudinal transects in the Southern Ocean (27.38–69.34 and 21.98–66.8∘ S) during two austral summers. The performance of Traditional Craig–Gordon (TCG) (Craig and Gordon, 1965) and the Unified Craig–Gordon (UCG) (Gonfiantini et al., 2018) models is evaluated to predict the isotopic composition of evaporated water vapor flux in the diverse oceanic settings. The models are run for the molecular diffusivity ratios suggested by Merlivat (1978), Cappa et al. (2003) and Pfahl and Wernli (2009), referred to as MJ, CD and PW, respectively, and different turbulent indices (x), i.e., fractional contribution of molecular vs. turbulent diffusion. It is found that the UCGx=0.8MJ, UCGx=0.6CD, TCGx=0.6MJ and TCGx=0.7CD models predicted the isotopic composition that best matches with the observations. The relative contribution from locally generated and advected moisture is calculated at the water vapor sampling points, along the latitudinal transects, assigning the representative end-member isotopic compositions, and by solving the two-component mixing model. The results suggest a varying contribution of the advected westerly component, with an increasing trend up to 65∘ S. Beyond 65∘ S, the proportion of Antarctic moisture was found to be prominent and increasing linearly towards the coast.

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2

Ramos, Luiz Fernando. "O Projeto Scene de Gordon Craig: uma história aberta à revisão." Revista Brasileira de Estudos da Presença 4, no. 3 (December 2014): 443–62. http://dx.doi.org/10.1590/2237-266045362.

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RESUMO O artigo propõe uma revisão do projeto Scene, de Gordon Craig, uma invenção patenteada em 1910 e desenvolvida até 1922. O próprio Craig manteve uma posição ambígua sobre se foi ou não um projeto irrealizado. Seu filho e biógrafo Edward Craig sustentou que as aspirações originais de Craig nunca foram alcançadas devido a limitações técnicas, e a maioria dos estudiosos que examinaram o assunto seguiram essa posição. Partindo das telas modelos guardadas na Biblioteca Nacional da França, dos cadernos de anotação originais de Craig e de um curta-metragem de 1963, eu defendo que o projeto patenteado e o ensaio publicado em 1923 representam, de fato, a concretização do sonhado dispositivo das mil cenas em uma cena.

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3

Feng, Xiahong, Eric S. Posmentier, Leslie J. Sonder, and Naixin Fan. "Rethinking Craig and Gordon's approach to modeling isotopic compositions of marine boundary layer vapor." Atmospheric Chemistry and Physics 19, no. 6 (March 29, 2019): 4005–24. http://dx.doi.org/10.5194/acp-19-4005-2019.

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Abstract. We develop a one-dimensional (1-D) steady-state isotope marine boundary layer (MBL) model that includes meteorologically important features missing in models of the Craig and Gordon type, namely height-dependent diffusion and mixing, lifting to deliver air to the free troposphere, and convergence of subsiding air. Kinetic isotopic fractionation results from this height-dependent diffusion that starts as pure molecular diffusion at the air–water interface and increases with height due to turbulent eddies. Convergence causes mixing of dry, isotopically depleted air with ambient air. Model results fill a quadrilateral in δD–δ18O space, of which three boundaries are defined by (1) vapor in equilibrium with various sea surface temperatures (SSTs), (2) mixing of vapor in equilibrium with seawater and vapor in subsiding air, and (3) vapor that has experienced maximum possible kinetic fractionation. Model processes also cause variations in d-excess of MBL vapor. In particular, mixing of relatively high d-excess descending and converging air into the MBL increases d-excess, even without kinetic isotope fractionation. The model is tested by comparison with seven data sets of marine vapor isotopic ratios, with excellent correspondence. About 95 % of observational data fall within the quadrilateral predicted by the model. The distribution of observations also highlights the significant influence of vapor from nearby converging descending air on isotopic variations within the MBL. At least three factors may explain the ∼5 % of observations that fall slightly outside of the predicted regions in δD–δ18O and d-excess–δ18O space: (1) variations in seawater isotopic ratios, (2) variations in isotopic composition of subsiding air, and (3) influence of sea spray.

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4

Lyu, Sidan, and Jing Wang. "Transpiration Induced Changes in Atmospheric Water Vapor δ18O via Isotopic Non-Steady-State Effects on a Subtropical Forest Plantation." Water 14, no. 17 (August 27, 2022): 2648. http://dx.doi.org/10.3390/w14172648.

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Accurate simulation of oxygen isotopic composition (δ18OT) of transpiration (T) and its contribution via isotopic non-steady-state (NSS) to atmospheric water vapor δ18O (δ18Ov) still faces great challenges. High-frequency in-situ measurements of δ18Ov and evapotranspiration (ET) δ18O were conducted for two summer days on a subtropical forest plantation. δ18O of xylem, leaf, and soil water at 3 or 4-h intervals was analyzed. Leaf water δ18O and δ18OT were estimated using the Craig and Gordon (CG), Dongmann and Farquhar–Cernusak models, and evaporation (E) δ18O using the CG model. To quantify the effects of δ18OT, δ18OE, and δ18OET on δ18Ov, T, E, and ET isoforcing was calculated as the product of T, E, and ET fluxes, and the deviation of their δ18O from δ18Ov. Results showed that isotopic steady-state assumption (SS) was satisfied between 12:00 and 15:00. NSS was significant, and δ18OT was underestimated by SS before 12:00 and after 18:00. The Péclet effect was less important to δ18OT simulation than NSS at the canopy level. Due to decreasing atmospheric vertical mixing and the appearance of the inversion layer, contribution from positive T isoforcing increased δ18Ov in the morning and at night. During the daytime, the contribution from positive T isoforcing increased first and then decreased due to strong vertical mixing and variability in T rate.

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5

Stokes, John, and Christopher Innes. "Edward Gordon Craig." Yearbook of English Studies 17 (1987): 342. http://dx.doi.org/10.2307/3507743.

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6

Newman, L. M. "GORDON CRAIG IN GERMANY." German Life and Letters 40, no. 1 (October 1986): 11–33. http://dx.doi.org/10.1111/j.1468-0483.1986.tb01278.x.

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7

Mazzocchi, Federica. "L’officina di Gordon Craig." Mimesis Journal, no. 4, 2 (December 1, 2015): 96–104. http://dx.doi.org/10.4000/mimesis.1095.

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8

Sheehan, James J. "Gordon Alexander Craig (1913–2005)." Central European History 40, no. 1 (February 27, 2007): 133–37. http://dx.doi.org/10.1017/s0008938907000313.

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In the spring of 1936, Gordon A. Craig, twenty-two years old and about to graduate from Princeton, made two of his earliest public appearances. The first was a poem, modeled on a Latin Ode, published in the Nassau Lit with the title “Marxicos Odi,” and dedicated “To My Proletarian Sweetheart.” The poem evokes the brevity of life, the swift passing of undergraduate pleasures, and their irresistible distraction from more serious things:

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9

Moran, Chris. "Becoming a Gordon Craig: Micheál mac Liammóir and Edward Gordon Craig’s Shared Beliefs and Performances of Self." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 27–42. http://dx.doi.org/10.32803/rise.v4i1.2637.

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Micheál mac Liammóir (1898-1978) and Edward Gordon Craig (1872-1966) shared many similarities: both were actors, designers, directors, and writers, and both rejected the realist tradition dominant in the theatre of their times. Craig’s developments in design throughout Europe laid a path for mac Liammóir to follow; indeed, mac Liammóir begins his autobiography All for Hecuba (1946) with the claim, ‘I would become [...] a Gordon Craig’. However, their affinities were not only in design and other aspects of theatre practice but in their shared artistic beliefs and performances of identity. This article will examine what mac Liammóir might have meant by ‘becoming a Gordon Craig’, first by considering Craig’s reputation and comparing both artists’ biographies. By contextualising Craig’s collaboration with W. B. Yeats at the Abbey Theatre, and Yeats’ influence on mac Liammóir, the article seeks to define the shared beliefs of mac Liammóir and Craig. Finally, by placing mac Liammóir’s reinvention and performance of self within a wider modernist context, an argument will be made for considering mac Liammóir in light of Craig’s concept of ‘The Über-Marionette’. Keywords: Edward Gordon Craig, Micháel mac Liammóir, Übermarionette, W.B. Yeats, Identity

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10

Lee, Sang-Kyong. "Edward Gordon Craig and Japanese Theatre." Asian Theatre Journal 17, no. 2 (2000): 215–35. http://dx.doi.org/10.1353/atj.2000.0018.

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11

Le Bœuf, Patrick. "On the Nature of Edward Gordon Craig's Über-Marionette." New Theatre Quarterly 26, no. 2 (May 2010): 102–14. http://dx.doi.org/10.1017/s0266464x10000242.

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There is no scholarly consensus about the precise meaning of the term ‘über-marionette’, as coined by Edward Gordon Craig. Is it a life-size marionette? A masked dancer? Or simply a metaphor for an actor who exerts perfect control over his body and emotions? The present article, based, among other sources, on recently discovered material in the Edward Gordon Craig Collection of the National Library of France, gives a brief overview of several perspectives regarding this issue before proposing another hypothesis – that the über-marionette may actually have been a full-body puppet. Patrick Le Bœuf is a library curator at the National Library of France, and was in charge of the Edward Gordon Craig Collection from 2006 to 2009.

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12

Buchma, Olga. "Gordon Craig`s "über-marionette" concept as an expressive means of a puppet theatre." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 235–38. http://dx.doi.org/10.32461/2226-2180.39.2021.238730.

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Purpose of the article. To study the process of the emergence of stage truth in the live-action puppet art. To define the peculiarity of creating stage truth by the expressive means of the puppet theatre. To analyze the theoretical works by Gordon Craig concerning the aesthetic concept of "über-marionette". To designate the ways of realization of stage truth in puppet theatre with the help of Gordon Craig`s "über-marionette" concept. Methodology of the research consists in the application of methods of system analysis, analogy, comparison, and opposition to analyze the "über-marionette" concept in comparative description with the expressive means and aesthetic principles of the live-action puppet art. The scientific novelty of the article is in the view on the nature of stage truth, in considering Gordon Craig`s "über-marionette" concept in the context of psychophysical image creation in puppet theatre and in searching for the ways to realize stage truth of puppet theatre in the context of new puppeteer`s artistic techniques. Conclusions. A live-action puppet, regardless of its system, genre restrictions, and movement characteristics, obeys its own conventional truth. The Puppeteer has Gordon Craig's stage truth. Gordon Craig in his theory of the "über-marionette" substantiated a new kind of stage truth needed by the puppeteer. Thanks to it the puppeteer can transform in his own way and even identify himself with the doll image. However, Craig did not elaborate on the actor's practice of achieving such stage truth. Guided by his theoretical works, one can only make an assumption about the practical implementation of the "über-marionette" theory in the stage practice of the live-action puppet art.

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13

Buckley, Jennifer, and Anne Holt. "Contents - Edward Gordon Craig Special Issue 2017." Mime Journal 26, no. 1 (February 28, 2017): iii. http://dx.doi.org/10.5642/mimejournal.20172601.01.

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Sellars, Peter. "Dreaming Of Light: On Edward Gordon Craig." Mime Journal 26, no. 1 (February 28, 2017): 111–22. http://dx.doi.org/10.5642/mimejournal.20172601.13.

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15

Silva Filho, Almir Ribeiro da. "A morte de Edward Gordon Craig: visualidades místicas de um pensamento Über." Sala Preta 22, no. 1 (April 14, 2023): 34–53. http://dx.doi.org/10.11606/issn.2238-3867.v22i1p34-53.

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O apelo à plasticidade é um dos fundamentos da proposta visual da nova arte da encenação inaugurada por Edward Gordon Craig no início do século XX. Esse apelo possui um eixo central inusitado, baseado em uma visão de mundo particular de seu autor: o misticismo. Ao desenvolver sua obra multifacetada, Craig criou um universo místico em que refletia sobre os limites da linguagem teatral, mas também sobre as frestas entre a vida, a não vida e a morte. Duas de suas realizações mais importantes – a montagem de Hamlet e a criação do Übermarionette – oferecem argumentos definitivos em relação ao papel da Morte na obra de Gordon Craig.

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16

Silva Filho, Almir Ribeiro da. "The Mask: a performance documental de Edward Gordon Craig e Dorothy Nevile Lees." Sala Preta 17, no. 2 (December 26, 2017): 304. http://dx.doi.org/10.11606/issn.2238-3867.v17i2p304-317.

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Edward Gordon Craig criou em seu célebre periódico The Mask um ambiente criativo que ultrapassou a função jornalística. Além do ineditismo de ser uma publicação exclusivamente dedicada ao teatro, também engendrou uma linguagem artística única: um espaço literário e, ao mesmo tempo, performativo, em que Craig fez dialogar de forma lúdica suas ideias para a renovação teatral com um meticuloso esforço documental, tanto ao resgatar textos antigos garimpados em arquivos quanto ao oferecer um nicho para o registro histórico das diferentes vanguardas do início do século XX. Resgata-se a figura histórica da coeditora Dorothy Nevile Lees, jornalista e escritora que dividiu com Craig a manutenção de The Mask por vinte anos e foi guardiã deste material para a posteridade, cujo nome foi injustamente obscurecido por Craig.

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17

TIAN, MIN. "Gordon Craig, Mei Lanfang and the Chinese Theatre." Theatre Research International 32, no. 2 (July 2007): 161–77. http://dx.doi.org/10.1017/s0307883307002817.

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Edward Gordon Craig's 1935 visit to Russia coincided with Mei Lanfang's 1935 performance in Russia. While Mei Lanfang's performance and its impact on Brecht and Russian theatre artists have been well documented and studied in recent years, Craig's contacts with the Chinese actor and his interest in the Chinese theatre, however, have yet to be investigated. Drawing on previously unpublished archive materials and other rarely used sources, this article for the first time documents Craig's contacts with Mei Lanfang during his visit to Russia. It also investigates his interest in the Chinese theatre in the context of his theoretical construction of the art of the theatre and his overall interest in the traditions of Asian theatres.

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18

Buckley, Jennifer. "“Symbols in Silence”: Edward Gordon Craig and the Engraving of Wordless Drama." Theatre Survey 54, no. 2 (April 22, 2013): 207–30. http://dx.doi.org/10.1017/s0040557413000033.

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In his bookOn the Art of the Theatre(1911), Edward Gordon Craig recounted seeing a sign on the stage door at the Munich Künstlertheater that momentarily made him think he had discovered “heaven.” “Sprechen Streng Verboten” (speaking strictly forbidden), it read. So eager was he to find comrades who shared his radical vision of a wordless drama that Craig had misread an ordinary request for backstage silence as a ban ononstagespeech. Although he sadly admitted that the German theatre was not as advanced as he had hoped, Craig insisted that the sign contained the “clue” to a modern theatrical renaissance—one he believed himself fully prepared to begin, if only someone else would provide the funds.

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Sardelli, Alessandro. "‘When a Dream Vanishes’: Edward Gordon Craig in Florence." New Theatre Quarterly 5, no. 18 (May 1989): 140–51. http://dx.doi.org/10.1017/s0266464x00003031.

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When Gordon Craig settled in Florence before the First World War, he found himself amidst a flourishing avant-garde artistic community. which he regarded with some caution. Between the staging of Rosmersholm with Duse in 1906 and the closing of his short-lived theatre school at the Goldoni Arena in 1914, he also conducted a correspondence with the eclectic cosmopolitan Carlo Placci – a previously unpublished source on which Alessandro Sardelli has drawn to illuminate Craig's Florentine years, during which his influential journal The Mask made its earliest appearance, and Craig also developed the idea of his adjustable screens, first employed during his Moscow collaboration with Stanislavski on Hamlet.

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20

Ribeiro, Almir. "Um Diálogo às Margens do Ganges: Gordon Craig e Ananda Coomaraswamy." Revista Brasileira de Estudos da Presença 4, no. 3 (December 2014): 463–85. http://dx.doi.org/10.1590/2237-266045461.

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RESUMO O artigo analisa o diálogo entre Edward Gordon Craig e Ananda Coomaraswamy, historiador de arte indiana, como ponto inaugural do universo investigativo conhecido como teatro intercultural e as consequências desse diálogo no pensamento do diretor inglês, desafiando sua criação do Über-marionette. A partir desse diálogo, o texto apresenta a postura precavida de Gordon Craig sobre as trocas entre tradições culturais. Problematiza-se as idiossincrasias inerentes a estes intercâmbios, que povoaram as pesquisas ao longo do século XX e início do XXI. Exemplifica-se o aspecto cíclico do debate, resgatando o embate entre Rustom Bharucha, crítico severo das tentativas de interculturalismo ocidental, e Richard Schechner, um dos mentores do teatro intercultural.

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21

Lhermitte, Sylvain F. "Le masque de Godwin." L’Annuaire théâtral, no. 37 (May 6, 2010): 13–29. http://dx.doi.org/10.7202/041592ar.

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Cet article s’attache à comprendre la personnalité et l’oeuvre d’Edward Gordon Craig à la lumière de celui qui l’a engendré, l’architecte décorateur et homme de théâtre Edward William Godwin (1833-1886). Craig, qui n’avait que trois ans lorsqu’il le vit pour la dernière fois, sculpte dans son oeuvre le masque de son père. N’ayant pas de souvenir de lui, manifestant le vif besoin d’une ascendance qui va légitimer son projet de renaissance de l’Art du Théâtre, il construit la figure mythique du père : un spectre s’adressant à Hamlet; Hamlet auquel Craig s’identifie intimement.

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22

Bindig, Susan, and Irene Eynat-Confino. "Beyond the Mask: Gordon Craig, Movement, and the Actor." Dance Research Journal 24, no. 1 (1992): 45. http://dx.doi.org/10.2307/1477876.

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23

Buckley, Jennifer, and Lori Belilove. "The Revolutionary: On Isadora Duncan and Edward Gordon Craig." Mime Journal 26, no. 1 (February 28, 2017): 17–25. http://dx.doi.org/10.5642/mimejournal.20172601.04.

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24

Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.

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The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.

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Abdel Aziz, Mona, Dalia elsharkawy, Heba Tullah Zohny, and Abd rabbo Abd rabbo. "Theatrical image aesthetics of Adolphe Appiah and Edward Gordon Craig." International Design Journal 12, no. 5 (September 1, 2022): 261–67. http://dx.doi.org/10.21608/idj.2022.260615.

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Grossman, Harvey. "Edward Gordon Craig, Étienne Decroux, and the Rediscovery of Mime." Mime Journal 26, no. 1 (February 28, 2017): 26–33. http://dx.doi.org/10.5642/mimejournal.20172601.05.

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27

Harry Payne. "Edward Gordon Craig: The Revolutionary of the Theatre as Hamlet." Biography 10, no. 4 (1987): 305–21. http://dx.doi.org/10.1353/bio.2010.0569.

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Peral Vega, Emilio. "Dos visionarios en escena: Edward Gordon Craig y Adrià Gual." Hispanic Research Journal 17, no. 6 (November 2016): 489–503. http://dx.doi.org/10.1080/14682737.2016.1238191.

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29

Innes, Christopher. "Des passions monumentales à l’âge de l’idéologie : Edward Gordon Craig et Norman Bel Geddes." L’Annuaire théâtral, no. 37 (May 6, 2010): 65–84. http://dx.doi.org/10.7202/041595ar.

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Durant toute leur carrière, Craig and Bel Geddes ont été préoccupés par un immense projet. Celui de Craig était la Passion selon saint Matthieu de Bach, tandis que pour Bel Geddes, c’était La divine comédie de Dante. Pour réaliser ces projets, chacun a non seulement créé un espace théâtral spécifique, mais a également conçu un éclairage et des scénarios élaborés. Examiner ces deux projets éclaire non seulement le mouvement moderniste — dans lequel les deux ont joué un rôle majeur —, mais ouvre aussi de nouvelles perspectives sur la politique de la période de l’entre-deux-guerres, relativement au fascisme et au communisme.

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Plassard, Didier. "Edward Gordon Craig et Le Théâtre des Fous: portrait du metteur en scène en auteur comique." Revista Brasileira de Estudos da Presença 4, no. 3 (December 2014): 425–42. http://dx.doi.org/10.1590/2237-266045596.

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RÉSUMÉ Pendant la Première Guerre Mondiale, le metteur en scène Edward Gordon Craig écrit un cycle de comédies pour marionnettes, Le Théâtre des Fous, qui restera inachevé. Cet aspect de son œuvre a longtemps été négligé par la plupart des critiques, en raison de sa contradiction avec les déclarations de l'auteur contre les auteurs dramatiques et le théâtre littéraire. L'article rappelle d'abord l'histoire des manuscrits du Théâtre des Fous jusqu'à leur publication récente, puis il examine les différents procédés comiques utilisés par Craig dans cette œuvre ainsi que sa difficulté à s'assumer comme auteur dramatique.

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Taxidou, Olga. "The Dancer And The Übermarionette: Isadora Duncan and Edward Gordon Craig." Mime Journal 26, no. 1 (February 28, 2017): 6–16. http://dx.doi.org/10.5642/mimejournal.20172601.03.

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32

Burke, Peter F. "KENNETH FITZPATRICK RUSSELL: THE FIRST READER TO THE GORDON CRAIG LIBRARY." ANZ Journal of Surgery 67, no. 8 (August 1997): 501–7. http://dx.doi.org/10.1111/j.1445-2197.1997.tb02027.x.

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Warnet, Jean-Manuel. "L’École de l’Arena Goldoni, ou la difficile invention d’un laboratoire." L’Annuaire théâtral, no. 37 (May 6, 2010): 45–64. http://dx.doi.org/10.7202/041594ar.

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De 1903 à 1914, Edward Gordon Craig multiplie les plans et les projets d’écoles : école des artisans du théâtre, école du metteur en scène, école expérimentale, école totalisatrice. Tous ces modèles tendent vers la forme du laboratoire, que l’on retrouve chez tous les grands réformateurs du théâtre au long du XXe siècle (Stanislavski, Meyerhold, Copeau, Grotowski, etc.). Ce que cherche Craig, c’est un espace de recherche fondamentale où il pourrait, entouré de collaborateurs plus que d’élèves, explorer les principes du théâtre. Au bout de ces esquisses, il y a l’ouverture éphémère de son école à l’Arena Goldoni de Florence, et surtout l’utopie d’un lieu total unifiant l’ensemble de ses intuitions depuis qu’il est parti en quête de l’artiste du Théâtre de l’avenir. Après avoir exposé l’historique de ces projets et leur réalisation partielle en 1913-1914, l’article examine quelques-unes des contradictions inhérentes à la démarche de Craig.

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Ramos, Luiz Fernando. "O indizível e as obras imaginárias de Klein e Craig." ARJ – Art Research Journal / Revista de Pesquisa em Artes 1, no. 1 (May 1, 2014): 35–47. http://dx.doi.org/10.36025/arj.v1i1.5260.

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Parte-se da noção wagneriana de indizível para examinar proposições de Ives Klein, como as da sensibilidade pictórica imaterial, do teatro do vazio e do teatro particular, e projetos de Gordon Craig como o uber-marionette e o do Drama for Fools. A hipótese em jogo é a de que com suas obras imaginárias ambos operaram no campo em que o indizível torna-se a obra, e por isso reverberam nos procedimentos de artistas da cena contemporânea.

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Patterson, Michael, Edward Gordon Craig, Count Harry Kessler, and L. M. Newman. "The Correspondence of Edward Gordon Craig and Count Harry Kessler, 1903-1937." Modern Language Review 94, no. 1 (January 1999): 285. http://dx.doi.org/10.2307/3736118.

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Haskell, Eric. "Picturing Robinson Crusoe: Edward Gordon Craig, Daniel Defoe and Image-Text Inquiry." Mime Journal 26, no. 1 (February 28, 2017): 78–88. http://dx.doi.org/10.5642/mimejournal.20172601.10.

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Voigt, Claudia, Daniel Herwartz, Cristina Dorador, and Michael Staubwasser. "Triple oxygen isotope systematics of evaporation and mixing processes in a dynamic desert lake system." Hydrology and Earth System Sciences 25, no. 3 (March 10, 2021): 1211–28. http://dx.doi.org/10.5194/hess-25-1211-2021.

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Abstract. This study investigates the combined hydrogen deuterium and triple oxygen isotope hydrology of the Salar del Huasco, an endorheic salt flat with shallow lakes at its centre that is located on the Altiplano Plateau, N Chile. This lacustrine system is hydrologically dynamic and complex because it receives inflow from multiple surface and groundwater sources. It undergoes seasonal flooding, followed by rapid shrinking of the water body at the prevailing arid climate with very high evaporation rates. At any given point in time, ponds, lakes, and recharge sources capture a large range of evaporation degrees. Samples taken between 2017 and 2019 show a range of δ18O between −13.3 ‰ and 14.5 ‰, d-excess between 7 ‰ and −100 ‰, and 17O-excess between 19 and −108 per meg. A pan evaporation experiment conducted on-site was used to derive the turbulence coefficient of the Craig–Gordon isotope evaporation model for the local wind regime. This, along with sampling of atmospheric vapour at the salar (-21.0±3.3 ‰ for δ18O, 34±6 ‰ for d-excess and 23±9 per meg for 17O-excess), enabled the accurate reproduction of measured ponds and lake isotope data by the Craig–Gordon model. In contrast to classic δ2H–δ18O studies, the 17O-excess data not only allow one to distinguish two different types of evaporation – evaporation with and without recharge – but also to identify mixing processes between evaporated lake water and fresh flood water. Multiple generations of infiltration events can also be inferred from the triple oxygen isotope composition of inflow water, indicating mixing of sources with different evaporation histories. These processes cannot be resolved using classic δ2H–δ18O data alone. Adding triple oxygen isotope measurements to isotope hydrology studies may therefore significantly improve the accuracy of a lake's hydrological balance – i.e. the evaporation-to-inflow ratio (E / I) – estimated by water isotope data and application of the Craig–Gordon isotope evaporation model.

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Maya Tabares, Daniel, Kamila Oquendo Botero, Laura Sofia Hernández Giraldo, Valentina Molina Restrepo, and Yessenia Alzate Valderrama. "Aproximaciones a la escenografía en prospectiva de la producción de eventos." Revista Intersección. Eventos, turismo, gastronomía y moda 2, no. 4 (January 25, 2021): 49–62. http://dx.doi.org/10.33571/revinterseccion.v2n4a4.

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La escenografía implica a la decoración, el sonido, la iluminación y la puesta en escena. En la producción de un evento, ésta es un aspecto importe en tanto compromete la puesta en escenade la idea creativa y los contenidos. En esta aproximación se presentan algunos aspectos de la historia de la escenografía y de los renovadores de ésta, entre los que encuentran: Bertolt Brecht, Pablo Picasso, Adolphe Appia, Gordon Craig.

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Ribeiro, Almir. "A Marionete em Chamas - O Teatro-dança Clássico da Índia e o Über-marionette de Gordon Craig: processos de Marionetização do ator." Pitágoras 500 7, no. 1 (August 24, 2017): 68. http://dx.doi.org/10.20396/pita.v7i1.8650801.

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Gordon Craig idealizou seu Über-marionette como uma crítica ao teatro centrado na personalidade. Para alicerçar sua criação, buscou inspiração no teatro asiático e em suas formas animadas, e com isso, se acercou do processo de marionetização presente nestas formas teatrais. O historiador Ananda Coomaraswamy questionou a relação entre o Über-marionette e o teatro-dança clássico da Índia. Este diálogo inaugura historicamente o viés investigativo chamado teatro intercultural.

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Leski, Ivan. "A renovação estética do espetáculo teatral no Brasil: 1920 a 1950." Revista Nordestina de História do Brasil 2, no. 3 (December 26, 2019): 11–47. http://dx.doi.org/10.17648/2596-0334-v2i3-1460.

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No Brasil, a recepção das tendências modernas no Teatro foi obra de grupos amadores. As novas ideias sobre encenação, que tinham sido concebidas por Adolphe Appia (1862-1928) e Edward Gordon Craig (1872-1966), antes da Primeira Guerra Mundial (1914-1918), chegaram ao Rio de Janeiro nos anos vinte. Este artigo é um breve relato histórico sobre alguns grupos teatrais que tentaram modernizar o palco brasileiro, nos anos quarenta do século passado.

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Lekker, Martina, Stephan Arnulf Baumgärtel, and Talita Corrêa. "A performativização do espaço. Comentários sobre a historicidade de conhecimentos e técnicas na construção de espaços cênicos contemporâneos." Urdimento - Revista de Estudos em Artes Cênicas 2, no. 38 (September 22, 2020): 1–27. http://dx.doi.org/10.5965/14145731023820200044.

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A partir de análises de projetos de Edward Gordon Craig, Lois Fuller, David Tudor e Klaus Obermaier, o presente artigo discute os pressupostos discursivos e tecnológicos nas poéticas de uma performativização do espaço. Problematiza as implicações para a agência humana na construção de espaços cênicos que inserem o ser humano de tal maneira nessa dinâmica que a agência dele fica submetida à lógica discursiva dessa construção espacial por meio de uma tecnologia desenfreada.

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Buckley, Jennifer, and Anne Holt. "Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig." Mime Journal 26, no. 1 (February 28, 2017): 1–5. http://dx.doi.org/10.5642/mimejournal.20172601.02.

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Taylor, James. "The Shadow Puppets of Elsinore: Edward Gordon Craig and the Cranach Press Hamlet." Mime Journal 26, no. 1 (February 28, 2017): 61–77. http://dx.doi.org/10.5642/mimejournal.20172601.09.

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Morgado, Alberto Luiz, and Paulo César Balardim Borges. "A luz cênica como visão espiritual: Gordon Craig e o design por símbolos." Urdimento 1, no. 31 (April 27, 2018): 07–19. http://dx.doi.org/10.5965/1414573101312018007.

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Strauch, Gerhard, and Roberto Gonfiantini. "Another special issue: 40 years Craig–Gordon model of isotope fractionation of water." Isotopes in Environmental and Health Studies 44, no. 1 (March 2008): 1. http://dx.doi.org/10.1080/10256010801887000.

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Jacques, Hélène. "Projections de la mort. Sur deux mises en scène de Denis Marleau." L’Annuaire théâtral, no. 37 (May 6, 2010): 113–27. http://dx.doi.org/10.7202/041598ar.

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Afin de résoudre l’impasse rencontrée par le praticien de théâtre qui doit représenter l’invisible de manière crédible, c’est-à-dire sans procéder à la simple incarnation, Edward Gordon Craig propose d’avoir recours à la Surmarionnette, plus susceptible que l’acteur d’exprimer le monde spirituel. Dans Les trois derniers jours de Fernando Pessoa et Les aveugles, fantasmagorie technologique, Denis Marleau fait apparaître sur la scène l’intériorité démultipliée du poète portugais et la mort qui guette les aveugles grâce à des projections vidéographiques. Cet article propose d’envisager ces deux créations de Marleau dans la perspective des réflexions de Craig sur le jeu de l’acteur et la représentation théâtrale de la mort. Sur la scène où l’animé côtoie l’inanimé, la vidéo et les masques, avec la puissance suggestive de la Surmarionnette, donnent une forme à l’invisible par le détour de l’instrument.

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CRAFT, STEPHEN G. "Opponents of Appeasement: Western-educated Chinese Diplomats and Intellectuals and Sino-Japanese Relations, 1932-37." Modern Asian Studies 35, no. 1 (February 2001): 195–216. http://dx.doi.org/10.1017/s0026749x01003730.

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Many years ago, the eminent historian Gordon A. Craig wrote: ‘One of the recurring themes in those books on the diplomatic pre-history of the Second World War which have come to us from the former enemy countries is the plight of the professional diplomat, whose training and knowledge convinced him that the policy of his government was leading straight to disaster but whose advice was seldom solicited and never followed.’ Craig went on to show that this pattern of ‘the neglect and abuse of the resources of expert diplomacy’ occurred in the democratic countries of the time. Professional Chinese diplomats (and intellectuals) fared little better than their counterparts, democratic or totalitarian, in the 1930s when their leader, Chiang Kai-shek, pursued a policy of appeasement toward Japan. Chiang's appeasement policy, or what some have referred to as a policy of accommodation or gradualism, has received much treatment from historians.

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FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe." European Review 9, no. 3 (July 2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.

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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.

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INNES, CHRISTOPHER. "Puppets and Machines of the Mind: Robert Lepage and the Modernist Heritage." Theatre Research International 30, no. 2 (July 2005): 124–38. http://dx.doi.org/10.1017/s0307883305001136.

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The work of Robert Lepage is examined in the context of the avant-garde, from Robert Wilson and Peter Brook, through the French Surrealists, back to Edward Gordon Craig. As well as being an icon of post-modernism, analysis of productions such as Needles and Opium, Elsinore and Zulu Time show the degree to which Lepage has realized Craig's ideals of the Übermarionette, and his screens, as well as ‘Scene’, his concept of a flexible, mechanized performance space. What this demonstrates is the unity of the modernist movement throughout the twentieth century.

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Bazeia, D., L. Losano, R. Menezes, and M. A. M. Souza. "New family of sine-Gordon models." EPL (Europhysics Letters) 87, no. 2 (July 1, 2009): 21001. http://dx.doi.org/10.1209/0295-5075/87/21001.

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