Relevant bibliographies by topics / Privates Theater

Academic literature on the topic 'Privates Theater'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Privates Theater"

1

Mohammadi, Banafsheh. "Of Architecture and Hope." Journal of the Society of Architectural Historians 81, no. 3 (September 1, 2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.

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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.
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Lupu, Andreea Gabriela. "The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre." Romanian Journal of Communication and Public Relations 18, no. 3 (January 25, 2017): 77. http://dx.doi.org/10.21018/rjcpr.2016.3.217.

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<p>This article tackles the means of theatre space reconfiguration in the apartment theater (<em>lorgean theater</em>), simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of <em>lorgean theater, </em>including a participant observation and an individual interview, enables the understanding of these two aspects of the spatial configuration, emphasizing its hybrid nature in terms of spatial configuration and the public-private relation as well as the act of reappropriation of the domestic space through an alternative practice of theatre consumption.</p>
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Gordeev, Petr N. "Ivan Vasilyevich Ekskuzovich — Architect and Theater Figure." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 34–59. http://dx.doi.org/10.21638/spbu15.2024.103.

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For the first time the article gives a biographical study of the major theatrical figure and St Petersburg architect I. V. Ekskuzovich. Having graduated from the Institute of Civil Engineers in his youth, he has built several buildings in the capital of the Russian Empire, but his lifework was the management of academic theaters in Leningrad and Moscow. In this article there was first established the existence of the “Ekskuzovich coterie” in 1917, which also included V. E. Meyerhold, conductor N. A. Malko and a certain number of the artists of the Mariinsky Theatre; the role of the coterie in the nomination of Ekskuzovich to the post of the head of the theater department at the end of 1917. The article summarizes the extensive material related to his administrative activities in theaters: the role of Ekskuzovich in the creation of the association of academic theaters, his official and personal correspondence with artists and the People’s Commissar of Education A. V. Lunacharsky. Based on the reviews of memoirists, private correspondence of artists and a number of anniversary addresses, a conclusion is made about the significant popularity of Ekskuzovich in the artistic environment. It is emphasized that the resignation of Ekskuzovich in 1928 took place against the will of Lunacharsky, who lost by the end of the 1920s his real power in the People’s Commissariat for Education. The activity of Ekskuzovich as a theorist and practitioner in mechanization of the theater stage, as well as one of the leading engineers in the park management of Leningrad in the 1930s, is also traced. The monograph “The Theater Stage in the Past and Present” published by him in 1930, Ekskuzovich’s work on the continuation of this research, as well as his work on equipping the stages of Soviet theaters, including the work on the theatrical part of the Palace of Soviets, are considered. The article is based mainly on archival data; materials used 13 archives and manuscript departments of museums and libraries.
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Belov, Alexey V. "Serf Theater of the Demidovs ‘Sloboda Palace’ in German Quarter: Organization, Creativity and Decline of the Noble Home Theaters Tradition in Moscow at the Turn of 19th Century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 119–31. http://dx.doi.org/10.37816/2073-9567-2023-69-119-131.

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Serf theaters played an important role in the development of the European theatrical tradition in Russia. For the most part they were nonprofessional and private. Both public and professional serf collectives were rather rare. The paper analyzed the history of the home serf theater, created by Russian nobles and industrialists N. A. and N. N. Demidov. It functioned in their Moscow house “Sloboda Palace”, located within the German Quarter — an elite suburb which contributed to the spread of theatrical culture here. The Demidov Theater was related to a small group of serf theaters that stood between small amateur theaters and large professional ones. Therefore, they were called “midsized” theater. However, they brought up future Russian actors and future Russian spectators in Russia, thanks to which theatrical art began to develop and enjoy great interest in the country. The paper on the basis of archival documents shows the life and structure of the Demidov Theater. Much attention is paid to the appearance and internal structure of the Demidov Theater building. The author highlights different forms of stage art that were available here. The study also dwells upon the musicians and singers who played a large role in the cultural life of the Demidov Palace and Theater, namely the family of the serf actor Mochalov, who belonged to Demidov and whose son came to be a great national Russian actor. The paper examines the causes and conditions of fading of the manor theater culture in Moscow, including the Demidov Manor Theater.
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Bly, Mary. "Playing the Tourist in Early Modern London: Selling the Liberties Onstage." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 61–71. http://dx.doi.org/10.1632/pmla.2007.122.1.61.

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This article attempts to reconstruct a mental cartography of early modern London, the ensemble of material, social, and symbolic codes that made up the social architecture of the city. The article extends Steven Mullaney's work by giving scholars a more accurate understanding of the geography of London and its liberties, especially those that housed private theaters, such as Shakespeare's Blackfriars. I look in particular at the liberty of the Whitefriars, arguing that between 1600 and 1615, two theaters used the liberty's reputation to draw visitors to both the theater and the neighborhood in an early modern version of cultural tourism. The theater thrived on a symbolic economy, a commodification of local color that drew people to the district, from in and outside London. I bring theories of space and tourism into play when considering the complexities of how a theater commodifies its neighborhood in this manner.
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Tsishkovskaya, M. S. "Theater without Borders: To Raise the Question of Blurring the Line between Professional and Amateur Creativity." Voprosy kul'turologii (Issues of Cultural Studies), no. 10 (October 1, 2021): 877–81. http://dx.doi.org/10.33920/nik-01-2110-02.

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Recently, the amateur theater movement, which seemed to have lost its significance three decades ago, is reviving and, moreover, transforming, now qualitatively different from the socio-cultural phenomenon that it was in the past. This paper examines the development of amateur creativity at the present stage. We will talk about private commercial theaters, amateur studios and laboratories, which over the past decade have not only gained wide popularity, but also, in the context of postmodern transformations, have become direct competitors to professional art, thereby blurring the boundaries between professional and amateur creativity. The functions of professional theaters, the tasks and problems that arise before them, have also affected the amateur art to the same extent. The author comes to the conclusion that the boundaries between professional and amateur theater are gradually blurring, which, in the near future, may lead to new global transformations in the field of theater culture.
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Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (September 30, 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.

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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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Jiang, Hao, and Si Jia Jiang. "Zoning and the Special Theater District in New York." Applied Mechanics and Materials 174-177 (May 2012): 2472–80. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2472.

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This paper evaluates the effectiveness of New York City’s attempts to promote its theater industry through zoning tools, which sheds light on balancing historic preservation and sustainable development. Using the original zoning resolutions and secondary data, this paper will analyze the changing problems, solutions, costs and benefits of setting up a Special Theater (Sub)District in order to protect a socially-desirable use and to recapture the value of private development at the same time. It will conclude that landmarking the theaters to be preserved provided them with legal protection and substantial funds created by the transfers of development rights (TDRs), while controls on Floor Area Ratio (FAR), usage and contextual requirements effectively shaped the area’s three dimensional form; the Special Theater Subdistrict has been highly successful.
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Thorpe, Richard G. "The Academic Theaters and the Fate of Soviet Artistic Pluralism, 1919-1928." Slavic Review 51, no. 3 (1992): 389–410. http://dx.doi.org/10.2307/2500051.

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While many studies of the early Soviet theater have focused upon its proletarian or revolutionary stages, in the polemics of that era a central topic of dispute was the so-called academic stage. The academic theaters of Moscow and Petrograd, which included the former imperial theaters as well as select representatives of the pre-revolutionary private stage, most notably the Arts and Kamernyi theaters, had no lack of critics or enemies in the years after October. The former court theaters were attacked as politically dangerous relics of the old regime, their artists were envied for their material privileges and status, their large budgets were coveted by less generously funded workers' and avant-garde stages, their art was condemned as conservative and out of harmony with the revolution and socialism. For Commissar of Education Anatolii Lunacharskii, however, these theaters were academies which would both preserve the best of the pre-revolutionary cultural heritage and provide standards of technical excellence against which more innovative theaters could be measured.
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Karzhaubayeva, Sangul, and Ainur Kopbasarova. "Innovative Strategies of the Turkestan Music and Drama Theater." Central Asian Journal of Art Studies 6, no. 4 (December 20, 2021): 148–58. http://dx.doi.org/10.47940/cajas.v6i4.510.

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The general theme of the international round table “Innovative and multimedia research in modern theater art”, organized by the departments of theater studies and scenography of T. K. Zhurgenov Kazakh National Academy of Arts, the main topic of which was the resonant premiere of the play Borte by Dulat Issabekov, which raised a wide range of ideas and topical issues. The purpose of this event was to comprehend the problems of innovations in the Kazakh theater in the era of digital technologies. The discussion was attended by a director of the Turkestan Music and Drama Theater Ainur Kopbassarova, a stage director Carlo Shakkaluga, prominent theatrical figures of the republic, directors, heads of regional theaters, actors, set designers, teachers, students of the academy and the capital's university of arts. The methodology basis in the discussion of innovative events taking place in the Kazakh theater were empirical, general scientific and private scientific methods of understanding new approaches in work on a production of a play, on the example of the performance of “Borte”. The study underwent cardinal changes in the theater's performance and production policy, starting with selection of actors who were invited from different theaters of Kazakhstan, to introduction of expensive innovative technical stage equipment. As a result of discussing the problems of introducing innovations in the Kazakh theater, a number of objective constraining factors were identified, such as obsolete technical equipment and stage machinery, etc. Particular attention was paid to the issues of profitability of theatrical production, adaptation methods and operation of specialized technical devices, fundamentally new approaches in selection of actors for the role. During the discussion of the principles of organizing work on the release of a new performance, it was noted that leadership of the Turkestan Theater had successfully introduced new generation technologies in the shortest possible time. Moreover, a fundamentally new algorithm for operation of the stage part of the theater was developed, an extraordinary model for managing production workshops of the theater, technical and technological spectrum of combining innovative methods and techniques in the space of one performance has been expanded.
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Dissertations / Theses on the topic "Privates Theater"

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Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-year-old children, and two preschool drama teachers were asked about their opinions after attending one or more of the theatre plays which were chosen for the study. The theatre plays which were chosen for the study were also scored according to the five different essential characteristics by two coders by using the &ldquo
theatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.
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Youngleson, Penelope. "Recommencing reality : the intersection of public and private identity in performative contexts." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/7700.

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Includes bibliographical references (leaves 66-69).
This paper explores the convergence and cusp of colliding realities in private and public identities in performative contexts. It draws heavily on a Socio-Anthropological system of the self and fictive personas within these constructs - as well as the perscnlpersonalpersonality trichotomy inherent in self~presentation and preservation. It is written in subservience and supplication to the practical component of the University of Cape Town's MA in Theatre and Performance (Theatre Making) which is also documented and archived with supplementary photographs as part of the research. The paper addresses notions of collective identity (such as gender, sexuality, race, ethnicity, socio-economic and socio-political group clusters) with a peripheral focus on the South African, middle-class, Caucasian identity and a particular focus on a female, hetero-normative orientation (as it forms the premise of many concerns presented in the practice of the inquiry: the artist as still iife, the subject as object). It suggests a methodology towards aligning the research and its actualisation in performance through a series of installation-based works presented on and around Hiddingh Campus, Cape Town between May 2008 and September 2009. At the time of publication, the culminating project of the degree was in its pre-production phase.
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Wilkinson, Linden Ann. "Creating Verbatim Theatre - Exploring the gap between public inquiry and private pain." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2472.

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Using arts-informed/narrative inquiry as its methodology, this thesis examines the creation of a performance text using verbatim theatre techniques. The play, Remembering One Day in December, evolved from the interweaving of personal narratives taken from volunteer participants, who were impacted by the 1999 Glenbrook Rail Disaster, when a crowded commuter train collided with the almost stationary Indian Pacific. It also includes documentary extracts from the first of three Public Inquiries into the event. From multiple perspectives, yet with shared motifs, the play tells the story of the day, the disillusionment with anticipated trauma support and concludes with the participants’ slow but inspiring journeys towards healing. The thesis also explores the increasing interest in performance as a research tool, because of its capacity to comprehensively present a multiplicity of complex truths. Also at this time of centralized media ownership and homogenized, reductionist media content, this thesis also suggests that the verbatim theatre form, so particularly dependent on complex cultural narratives, could be evolving as a bridge between mainstream stages and community concerns, where community can be either global or regional and some of its concerns are no longer the province of news and current affairs. Lastly this thesis offers the researcher an opportunity to reflexively examine the editing process in the construction of the play text. It describes the researcher’s journey from interviewer to story custodian and analyses how this shift in relationship affected the text’s content and structure, where the intention to deliver an authentic and compelling piece of verbatim theatre remained paramount.
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Love, Christopher Bryan. "The private theaters in crisis strategies at Blackfriars and Paul's, 1606-07 /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3817.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.
Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Van, der Merwe Belinda. "Radiation distribution in a private neurological theatre during invasive back pain management procedures." Thesis, Bloemfontein : Central University of Technology, Free State, 2008. http://hdl.handle.net/11462/110.

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Thesis (M. Tech.) -- Central University of Technology, Free State, 2008
The aim of the study was to determine radiation dose levels around the theatre table, on either side of the C-Arm, in order to establish if the radiation dose received by staff during back pain procedures fell within the limits set by the International Commission of Radiological Protection (ICRP). The question that arose from this goal was whether the stance of staff, in relation to the x-ray tube side of the C-Arm, influenced radiation dose levels. In order to apply the ALARA principle, the possibility of lowering the radiation dose in the neurological theatre was explored. The measurement methodology of the study was twofold: measurements were executed by means of TLD meters, as well as with an ionisation chamber. TLD meters were placed on the patient, the neurosurgeon and the radiographer during back pain procedures, and, more specifically, during fluoroscopy, to record the doses with the Image Intensifier (II) above the table as well as with the x-ray tube above the table, at the pelvis and the chest height of the staff. Ionisation chamber measurements were recorded in 25cm intervals around the theatre table with a phantom and the C-Arm positioned in the PA, oblique and lateral positions at 110cm and 133cm heights from the floor. The TLD results indicated that, when compared to the Image Intensifier side, the radiation dose was higher on the x-ray tube side of the C-Arm. The radiation dose was higher at the height closest to the x-ray source. The radiation dose received by the patient was higher with the x-ray tube positioned above the table (PA). The radiation dose to the surgeon’s hand and body was higher with the x-ray tube positioned above the table (PA). Radiation dose levels with the x-ray tube above the table during back pain procedures in the current theatre exceeded the occupational annual recommendation of 500mSv to the neurosurgeons hands, as recommended by the ICRP. The opposite is true with the II positioned above the table. The research question was answered positively in that the x-ray tube under couch orientation has the potential to limit dose levels during back pain procedures. The measurement values resulted in a proposed protocol in terms of positioning of staff and orientation of the C-Arm in order to apply the ALARA principle during back pain procedures. Constant revision of protocols is the responsibility of the radiographer in order to guarantee that the ALARA principle is implemented in every unique situation.
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Haskell, Amelia. "Creating meaning through theatre: a qualitative and phenomenological study exploring the positive power of theatre for adolescent girls in a single-sex private high school." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123102.

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This study examines the link between theatre and positive development in adolescent girls. Using Portraiture and Performative Inquiry methodologies, I worked closely with eight girls at a private single-sex school in Montreal over the course of eight months, teaching a theatre curriculum that allows students to create their own dramatic works by looking at topics of concern to them and performing in front of their peers. The theatre class developed their communication, expression and imagination, among other skills. My research also shows how theatre allowed the participants to create deeper bonds of friendship, develop a sense of empathy and an understanding of others, and a greater ability to express their experiences, thoughts and feelings. These abilities enabled a shared experience with their peers and an understanding that they have anxieties, perceptions and fears in common with others. Therefore, this study shows how important it is for theatre to be an essential part of the high school curriculum, since it not only benefits adolescents in their present lives, but also develops individual capacities that will serve them in the future.
Cette étude examine le lien entre le théâtre et le développement positif chez les adolescentes. À travers l'utilisation de la méthodologie portraitiste et de la recherche-action sur la performance artistique, j'ai travaillé étroitement avec huit filles d'une école privée pour fille à Montréal pendant huit mois. J'ai enseigné un programme de théâtre qui permet aux élèves de créer leurs propres œuvres dramatiques en rapport avec des sujets qui les concernent et de les jouer devant leurs pairs. Les élèves de la classe de théâtre ont, entre autres, développé leurs compétences de communication, d'expression et d'imagination. Mon étude montre également comment le théâtre a permis aux participantes de créer des liens plus profonds d'amitié, de développer un sentiment d'empathie et une compréhension d'autrui ainsi qu'une plus grande capacité à exprimer leurs expériences, leurs pensées et leurs sentiments. Ces capacités leur ont permis de créer une expérience partagée avec leurs pairs de comprendre qu'elles ont des angoisses, des perceptions et des craintes en commun avec les autres. Par conséquent, cette étude montre à quel point il est important que le théâtre fasse partie intégrante du programme d'études secondaires, car il bénéficie aux adolescentes non seulement dans la période actuelle de leur vie, mais développe également des capacités individuelles qui leur seront utiles dans l'avenir.
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秦建文 and Kin-man Tsin. "The sustainability of a cultural link: the Sunbeam Theatre : searching for a strategy for conserving privately-owned built heritage in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B42181793.

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Tsin, Kin-man. "The sustainability of a cultural link the Sunbeam Theatre : searching for a strategy for conserving privately-owned built heritage in Hong Kong /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B42181793.

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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.

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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Uddenberg, Molly. "Metafor - en metod att göra det privata personligt." Thesis, Linnéuniversitetet, Institutionen för fysik och elektroteknik (IFE), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-28051.

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In this study I have met three authors in a dialogue seminar on their literary work. The discussion, starting from texts by Lacan and Socrates, revolved around the dichotomy of personal and private, and how to benefit from personal material in one’s literary work. The three authors reflected on the writer Karl Ove Knausgård and the photographer Sally Mann, who both are working with their own immediate family as a motif. In Knausgård, you can find a strong and self-dissecting writer persona as a medium of creating recognition in the readers mind. In Sally Mann the metaphorical dimensions of this family motifs transforms them to images of much more general relevance than their private settings. On the subject of truth and story I also reflect on the different approaches that the authors Primo Levi, Viktor Frankl and Imre Kertész have on their experiences of the Holocaust. Finally the importance and relevance of metaphors as a way of getting a touch of one’s own private material is starting to be investigated.
I det här arbetet har jag samlat tre författare i olika genrer till ett dialogseminarium om sin arbetsprocess. Samtalet, som utgick från texter av Lacan och Sokrates, kretsade mycket kring författarens arbetsvillkor och de olika metoder som författarna använder sig av för att hitta sin frihet i förhållande till dem. I samtalet blev det uppenbart hur beroende alla författarna är av en förstående medarbetare. Okunskap och felläsning från en dramaturg eller redaktör kan bokstavligt talat bli förödande.    Dialogmötet kom att kretsa kring frågeställningar om hur man skiljer privat och personligt. Vi diskuterade författaren Karl Ove Knausgård och fotografen Sally Mann, som båda jobbar med sin egen familj som motiv. Genom att Knausgård använder sig själv som en roll visar han på en möjlighet att närma sig ett eget material. Hos Sally Mann är det istället de metaforiska dimensionerna i de vardagliga motiven som gör sig tydliga.    Också i Imre Kertész skildring av förintelsen förvandlas den till något större: en metafor för hur ödet och slumpen kan påverka våra liv. Hans berättelse blir på det sättet mindre beroende av vad som är sant, än skildringarna av två andra överlevare från Auschwitz: Primo Levi och Viktor Frankl. Vilket inte betyder att de andras texter saknar metaforisk styrka.    Avslutningsvis går uppsatsen in på författarnas sätt att använda metaforen som ett verktyg för att berätta. Metaforen är alltid en bild av någonting annat, den skapar en fördjupning och oförväntad igenkänning hos läsaren. Den ger också möjligheter för konstnären/författaren att berätta saker som hen inte kan säga på andra sätt.  Metaforen uppstår genom igenkänning i skapandet. Man kan välja att gå med den, eller aktivt gå emot den för att fördjupa textens eller filmens metaforiska dimension.    En viktig aspekt för yrkeskunnande inom konsten och författarskap är att aldrig ligga före i sitt arbete genom att oroa sig för vad omgivningen ska tycka och tänka. Då finns det en risk att man blir en feg konstnär, vilket är förödande för ens skapande.
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Books on the topic "Privates Theater"

1

slot), Teatermuseet (Christiansborg, ed. Det private initiativ: Stationaere københavnske privatteatre 1848-2008, [10.4.2008-26.10.2008]. København: Teatermuseet i Hofteatret, 2008.

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Anderson, Brett. Theo Kalomirakis' private theaters. Malibu, Calif: Home Theater Magazine, 1997.

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Cowan, Eugenie C. Look out for Broadway: The potential for public/private partnerships for West Midtown. New York, N.Y: Exploring the Metropolis, Inc., 1988.

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John, Fraser. Private view: Inside Baryshnikov's American Ballet Theatre. New York: Bantam Books, 1988.

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John, Fraser. Private view: Inside Baryshnikov's American Ballet Theatre. London: Hamish Hamilton, 1989.

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Gruszczyński, Piotr. Öffentliche strategien, private Strategien: Das polnische Theater, 1990-2005. Berlin]: Theater der Zeit, 2006.

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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Thursday, Dec. 6th, The private secretary, the very popular farce comedy entitled "The private secretary" in three acts .. [London, Ont.?: s.n., 1986.

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Krauss, Kenneth. Private readings/public texts: Playreaders' constructs of theatre audiences. Rutherford: Fairleigh Dickinson University Press, 1993.

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J, Mistress. Private theatre: Personal observations and revelations of a dominatrix. Kew, VIC: Domina Books, 2002.

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Auerbach, Nina. Private theatricals: The lives of the Victorians. Cambridge, Mass: Harvard University Press, 1990.

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Book chapters on the topic "Privates Theater"

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Pohnert, Fritz. "Privates Theater." In Kreditwirtschaftliche Wertermittlungen, 205–7. Wiesbaden: Gabler Verlag, 1992. http://dx.doi.org/10.1007/978-3-322-90651-9_35.

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Pohnert, Fritz. "Privates Theater." In Kreditwirtschaftliche Wertermittlungen, 189–91. Wiesbaden: Gabler Verlag, 1986. http://dx.doi.org/10.1007/978-3-322-91047-9_34.

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Vuelta García, Salomé. "El teatro del Siglo de Oro en el fondo Orsi de la Biblioteca Estense de Módena." In Studi e saggi, 399–420. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.24.

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This paper offers an overall study of the texts derived from the Spanish classical theater contained in the Orsi collection of the Estense Library of Modena, which has so far not been adequately investigated. The remarkable interest of Giovan Gioseffo Orsi (1652-1733) and his entourage for the Spanish theater emerged, played in the public theaters, private villas, academies and Jesuit colleges of Modena and Bologna between the end of the XVII and the beginning of the XVIII century. In addition, several unknown adaptations and remakes come to light, deriving from Spanish pièces included in the Diferentes autores collection - which had a considerable European circulation -, and some canovacci, long considered lost, dating back to the companies of the professional comedians Giovanni Andrea Cavazzoni and Luigi Riccoboni. The analysis conducted on some of these texts, of which there are multiple versions, allows us to go into the translator’s laboratory, greatly increasing our knowledge of the theatrical rewriting methods of the time.
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Shapiro, Michael. "Boy Companies and Private Theaters." In A New Companion to Renaissance Drama, 268–81. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch20.

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Leach, Robert. "Playgoing in the private theatres." In An Illustrated History of British Theatre and Performance, 265–70. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-37.

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Martin, Carol. "The Theatricalization of Public and Private Life." In Theatre of the Real, 22–58. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137295729_2.

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Filho, José Monserrat. "Outer Space as Private Property and Theater of War?" In Private Law, Public Law, Metalaw and Public Policy in Space, 123–44. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-27087-6_7.

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Price, Eoin. "‘Private’ and ‘Public’ Indoor Theatres, 1625–1640." In ‘Public’ and ‘Private’ Playhouses in Renaissance England: The Politics of Publication, 48–65. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137494924_4.

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Price, Eoin. "The Emergence of the ‘Private’ Theatres, 1600–1625." In ‘Public’ and ‘Private’ Playhouses in Renaissance England: The Politics of Publication, 29–47. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137494924_3.

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Eltis, Sos. "Private Lives and Public Spaces: Reputation, Celebrity and the Late Victorian Actress." In Theatre and Celebrity in Britain, 1660–2000, 169–88. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230523845_10.

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Conference papers on the topic "Privates Theater"

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Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Brandt, Galina. "Interpenetration Phenomenon of Public & Private Aspects in Contemporary Theatrical Practices." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-12.

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The article hypothesises that the opposition of ‘publicity/privacy’ concepts (alongside with other fundamental dichotomies, e.g. spiritual/material, social/individual, political/personal) in the media era, and first of all in the era of the Internet together with related communicative resources, is no longer productive. The study was performed via discursive analysis since it concerns methods of making use of the original concepts of ‘publicity’ and ‘privacy’. The author also addresses media survey methods since it is a contemporary media context that guides changes in the balance between the concerned phenomena. The deconstruction method is also important since the theatre institution itself, on the example of which the phenomenon of the interpenetration of the public and the private is examined, is deconstructed and shadowed by absolutely new theatrical practices. The culturological approach is the paradigmal prism through which the declared topic is researched, since the study goal is to demonstrate how ‘current’ (Z. Bauman) changes of the modern cultural landscape change habitual ideas on some or other dichotomies, particularly the dichotomy of ‘publicity/private’. The aforementioned research tools were used in the study to address theatrical practices explicitly demonstrating the removal of the dichotomy of public and private. A closer look was taken at the play ‘Questioning’ staged by the contemporary Petersburg theatre Pop-up, and where invasion of publicity into the area of privacy and intimity, and exposition of aspects taken out from ultimate existential depths constitutes the very essence of the play. The article concludes that such theatrical practices can take place when the cultural horizon is extended to enable the attribution of a new semantic scope, in particular ‘forced publicness’ (E. Shulman).
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Zaytsev, Pavel. "Modernism, Publicness, Zombification: Gestalt of "Worker" by E. Junger, And Phenomena of Contemporary Exploitative Culture." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-17.

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The need for researching into ideological sources of contemporary exploitative culture is necessitated by both the outer edge of its interaction with other triggers of modernity, and the inner edge consisting in the answer to the following question: ‘what is an exploitative culture?’. The modernism era gave rise not only to global mass culture, but diverse oppositions of ‘privacy’ and ‘publicity’ categories in their key anthropological images. It seems to us to be no coincidence that exploitative culture is presented by researchers primarily in the anthropological dimension of race and sex. While considering the heroic characters proposed to be scaled for the era of modernism, it is necessary to account for the invariative content, which was reflected in gestalt of the ‘worker’ by E. Junger, and its particular historical variations. We pay our attention to the pedagogical system suggested by A. Makarenko, and the system of fostering actors of the future by V. Meyerhold as projects of the taylorisation of school and theater. The contemporary culture which, as a result of racial protests in the USA, has tended to be attributed with the predicate ‘exploitative’ reveals the exploitative meanings of the worker’s gestalt in the image of the zombie and the phenomenon of zombification associated with it. As a result of this study, conclusions were drawn regarding the continuity of the anonymous image of the ‘worker’ E. Junger and the film image of the zombie as one of modern culture’s most demanded anonymous generalised characters of the masses. Their affinity is as follows: the ‘worker’ of E. Junger is not a social, much less an economic category, it is the most common anthropological metaphore of ‘generic attributes’ to characterise the modernism era, like a zombie character in contemporary mass culture. However, if gestalt of ‘worker’ by E. Junger means the totality of creation of a new world, then the zombie character in contemporary mass culture is associated with the totality of devastation.
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Costanza, David, and Pierianna Mazzocca. "Shared Beds: Ragdale Ring 2019." In 109th ACSA Annual Meeting. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.12.

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Launched as an international competition in 2013 to reinterpret Howard Van Doren Shaw’s Ring as a temporary, experimental environment, the Ragdale Ring competition has provided young architects and designers the annual occasion to conceive and construct a temporary performance venue and public gathering space on the Ragdale campus in Lake Forest, Illinois. The premise of the competition responds and reinterprets Shaw’s original Ragdale Ring, which was conceived as an open-air theatre for his poet and playwright wife, Frances Wells Shaw.1 As the winning proposal of the competition and built on the grounds of the Ragdale Foundation in June 2019, Shared Beds sought to challenge the role of the individual vis-à-vis the collective by reconsidering the seemingly inanimate quality of everyday objects such as beds and their assumed immutable location inside private domains. Thus, beds are used in this project to invoke a shared public life through a nuanced, abstract language of simple geometrical forms.
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Yamaguchi, Takami, Yuji Nakanishi, and Kiyoyuki Yamazaki. "The Hyper Hospital: Virtual Reality Mediated Network Based Medical Care." In ASME 1996 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/imece1996-1305.

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Abstract The Hyper Hospital is a proposal of novel medical care system which is constructed on an electronic or computerized information network using virtual reality as the principal human interface [1]. The major purpose of the Hyper Hospital is to restore humane interactions between patients and various medical caretakers by making a much closer contact between them. This task will be accomplished by reforming the medical system rather patient-centered than provider-oriented current system by virtue of most advanced multi-media network information technology. The Hyper Hospital will be built as a distributed system on the real and the virtual world on the network, a node of which represents a variety of medical care facilities; for example, the out patient office, the nursing care center, the medical examination unit, the operating theater, etc (Fig.1). Above all, the Hyper Hospital space consists of the alternate reality space owned and exclusively controlled by the patient himself/herself. Most of the physical contact, such as the visit to the out patient office by the patient, is actualized by the electronic contact of the patient private space and the public space of the hospital system. Prescription of the drugs, special cares, even the administration to the ward will be integrated to the distributed electronic network.
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Bartie, Kenneth. "History of the Vertol Aircraft Corporation, 1956 to 1960." In Vertical Flight Society 77th Annual Forum & Technology Display. The Vertical Flight Society, 2021. http://dx.doi.org/10.4050/f-0077-2021-16811.

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With an overall company lifespan of only four years, Vertol Aircraft Corporation continued the tandem-rotor helicopter legacy of its predecessor, Piasecki Helicopter Corp., as well as research, development and testing of other V/STOL aircraft and technologies while concurrently designing two medium-lift transport helicopters that are still in worldwide use and/or production today. During this short timeframe, the company finalized production and deliveries of the H-21C Shawnee/V-44 for the US Army and international customers. The company designed and flew the world’s first tilt-wing VTOL, the NACA/Army/Navy/Vertol VZ-2A. Application of T53 and T58 turbine powerplants led to twin-turbine engine trials and flight tests with experimental H-21 variants. With Vertol’s in-theater customer support, the French Army and Navy introduced the H-21 into combat in Algeria which included the early use of armed, troop-carrying helicopters. The design, test and successful US and worldwide demonstrations of the privately-funded Vertol 107 led to development and certification of the 107-II airliner version and follow-on military transports as the Boeing H-46 Sea Knight. The contract to design and build the YHC-1B was won by Vertol in 1959 and led to the enduring Boeing H-47 Chinook.
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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.

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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.
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Chen, Zhen, and Samuele Camolese. "Digital tools for urban development project: GIS application to PTAL assess and land valuation and traffic simulation for piazza renewal." In International Conference Virtual City and Territory. Roma: Centre de Política de Sòl i Valoracions, 2014. http://dx.doi.org/10.5821/ctv.7911.

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Nowadays, the increasing density and expansion of urban areas make cities as complexes with massive activities. The new input of the upgrating urban functions brings uncertainty to the transformation of downtown. Previous to the urban design, to visualize and assess the land value, and evaluate the possible density of the urban development supported by the public transport, a GIS platform is required. During the project of urban renewal design for the 13 km2 area of downtown Baotou (China), our GIS work as advanced territorial analysis tools, helps to provide the technological support for the decision of the urban spatial plan. The overall project site has been divided into a 20x20m grid, and in each cell a specific value for each factor deems relevant for this design stage was assigned. The factors include topographical morphology (sun exposure, elevation, slope or flat terrain), the positive ones are the accessibility, proximity to public transport stops, to waterfront or park, to attractive places (cultural and commercial facilities), and so on. While the traffic congestion, pollution and noise are considered as Negative factors. For some important urban facilities like shopping mall, theater or symbolic buildings the calculation of “visibility” is also a crucial factor. This process allows us to derive new information from the existing data and to analyze complex spatial relationships. The public transport service provides great support for the future construction. Based on the capacity of public transport modals and the estimated frequency, the PTAL (Public Transport Accessibility Level) map, produced by GIS as well, reflects the acceptable passengers and hence shows the support to the density of the future development, the PTAL level is direct related to modal share and quantify the usage of private car. In this sense the 3D PTAL map can be regarded as the visualization of the city’s skyline. Vice versa, if the density estimated by PTAL could not meet the requirement of official plan the increase of certain capacity and frequency of public transport vehicles can be accordingly suggested. In a word, the maps of land value and development density could help the urban plan to utilize the land portion or find suitable locations for main urban attractors in a more reasonable way. In addition, in some cases the renewal design of some important urban areas requires the modification of traffic flows. Does the new project meet the necessary of urban livability in term of traffic generation? Or would it improve the organization of traffic flows? The traffic simulation could assess and visualize the effect. Our project for Piazza Santa Croce (Parma) demonstrates this solution.
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Reports on the topic "Privates Theater"

1

Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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