Journal articles on the topic 'Theater – Production and direction – Germany'
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1
Zadek, Peter. "Hoping for the Unexpected: the Theatre of Peter Zadek." New Theatre Quarterly 1, no. 4 (November 1985): 323–37. http://dx.doi.org/10.1017/s0266464x00001743.
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Over the last three decades the work of Peter Zadek in Germany has consistently aroused strong reactions, whether of lavish enthusiasm or disdainful rejection (Peter Stein is supposed to have commented that Zadek's productions of Shakespeare were ‘Shakespeare with his trousers down’). Whatever the critical reception, Zadek's work demands close attention for its free-wheeling, unpredictable, and dangerous qualities, as well as for the remarkably sensitive interplay he achieves between his actors. If Stein's productions at the Schaubühne and elsewhere are masterpieces of formal perfection, Zadek's work by contrast is characterized by a flamboyant, imaginative exploration of the text and a healthy suspicion of polished results. In the interview which follows, Roy Kift discussed with Peter Zadek not only his attitudes to the problems of acting, but also his opinions on German theatre and literature and the experiences which shaped his development as one of West Germany's leading directors. Roy Kift has been living in West Berlin since 1981, where he has written plays for stage and radio and a prizewinning opera libretto, as well as directing for theatre and television. His article on the GRIPS Theater in Berlin appeared in TQ 39 (1981).
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Mojžišová, Michaela. "Peter Konwitschny, Opera and Theatre Director Shaping the Profile of the Bratislava Opera of a New Millennium." Slovenske divadlo /The Slovak Theatre 65, no. 3 (September 1, 2017): 266–82. http://dx.doi.org/10.1515/sd-2017-0015.
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Abstract The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The authoress bases herself on an analysis of the productions of Eugen Onegin (2005) [Eugene Onegin], by Tchaikovsky, Puccini’s Madama Butterfly (2007) and Bohéma (2013) [La bohème], Janáček‘s Vec Makropulos (2015) [The Makropulos Affair], and Halévy‘s Židovka (2017) [La Juive], all of which, save for Janáček‘s opera, the Opera of the Slovak National Theatre has borrowed from foreign theatre scenes. The authoress makes a stocklist of the basic principles of Konwitschny’s direction signature and his contribution to theatre production, as well as to the artistic ensemble of the Bratislava Opera.
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Repin, Pavlo. "Richard Strauss's Opera "Salome" in Search of a New Directorial Reinterpretation." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 141–52. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284763.
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The author considers the relevance of the appeal to the Salome image in the realities of the new wave of expressionism at the beginning of the 21st century. The research was carried out with a comprehensive analysis of the dramaturgical, musical, plastic and choreographic, scenography components of the stage incarnations of Jewish princess image in Richard Strauss's opera "Salome". The author determined the methodology of the key aspects of the study: the interpretation of the image of Salome by O. Wilde and Richard Strauss, that provides a basis for conducting a comparative and analytical examinations. The study of musical dramaturgy peculiarities in this opera leads to a genre-stylistic analysis. The most significant stage incarnations of the 21st century relate to interpretive investigation. Two concepts of the justification of the main conflict that led to the death of the Prophet are outlined. The first concept is political, since the Herodians' expectation of a Messiah from their dynasty was hindered by the prophecies of John the Baptist; the second concept is biblical, it is the rejection of Herodias's image of the Prophet for accusing her of incest and vices. The author proved the similarity of the text of Richard Strauss's opera libretto and O. Wilde's play on the theme of Salome, but he found stylistic differences between the two works: O. Wilde's is a drama of a symbolic direction, Richard Strauss's is an expressive and psychological musical poem. As a result of the analysis, the author proves that the dramaturgical structure of the opera is built on the Wagnerian principle of subordinating musical, poetic and scenic elements to the development of the storyline and reinterpreting leitmotif in terms of its individualization. Three versions of the opera performance "Salome" staged by Norwegian, German and Ukrainian directors are described, they are solved in the aesthetics of postmodernism with the extrapolation of the time and place of action to the present, an ironic attitude to the operatic images of the characters, and the synthesis of traditional and innovative means of expression. It was established that the Norwegian version is more characterized by the use of the latest art technologies in the formation of the artistic image of the performance; German production gravitates to the creation of a psychological drama with Freudian undertones; the Ukrainian performance based on Richard Strauss's opera "Salome" has a hi-tech solution. Prospects for further research in the aspect of integration of traditional theater and modern multimedia technologies are outlined.
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Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.
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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.
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Passos, Mateus Yuri. "The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions." Comunicação e Sociedade 31 (June 29, 2017): 39–56. http://dx.doi.org/10.17231/comsoc.31(2017).2603.
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This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In director’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are interested above all in problematizing the equivalence that is sometimes established between a staging and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883).
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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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Leben, Andrej. "Contemporary Slovenian Bilingual and Multilingual Theatre in the Context of Carinthia." Amfiteater 11, no. 2 (December 28, 2023): 36–56. http://dx.doi.org/10.51937/amfiteater-2023-2/36-56.
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For many years, bilingual and multilingual practices have been one of the distinctivefeatures of contemporary theatre work by the Slovenian minority in Carinthia. Morerecently, they can also be observed in the productions of other Carinthian theatres,both non-institutional and institutional, with which actors from minority backgroundsrepeatedly collaborate. Some have (co-)founded new bilingual and multilingual theatrestructures within or outside this environment. Others are working simultaneously to agreater or lesser extent in theatres in the wider German and Slovenian language area andelsewhere, including in the fields of directing, choreography, acting, set design and theatremusic, as well as in television and film productions. Given that these phenomena have notyet been systematically explored in detail, the article outlines the contemporary Slovenianbilingual and multilingual theatre scene in Carinthia, its structures, activities and stagingpractices. Based on the current range of the manifold activities, it also addresses thequestion of how to conceptually encompass these diverse practices.
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Batytska, Tetiana. "Aspects of Theatre Directing in the Maria Zankovetska National Academic Ukrainian Drama Theater during the 1990s–2010s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 86–94. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294632.
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The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.
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Shishkin, Andrei Gennadievich. "Repertory theater of production type – trends in the dialogue of cultures in modern music and theater culture (on the example of the Ural Opera Ballet Theater)." Культура и искусство, no. 5 (May 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.5.35614.
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This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions – musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is proven by particular artistic experiences of the dialogue of cultures in modern opera on the example of Ural Opera Ballet Theater in Yekaterinburg and its projects “Satyagraha”, “The Passenger”, “The Greek Passion”, and “Three Sisters”. A number of important ideas of theoretical and historical culturology find practical substantiation: the paramount prerequisite for the effectiveness of any activity – the unity of theory and practice is realizes in the sphere of artistic culture. It is determined that within the framework of repertory theatre, production direction must take consider the time requirements that are solved in the field of the dialogue of cultures. The article demonstrates that the dialogue of cultures manifests as the dominant trend in the development of theatrical culture, allowing a more effective response of the creative process to the demands of time. It is proven that the work created in the process of the dialogue of cultures, which contains polyphony of voices, requires peculiar work with the audience, who is also engaged in dialogue with the performance.
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Shafer, Yvonne. "Nazi Berlin and the Grosses Schauspielhaus." Theatre Survey 34, no. 1 (May 1993): 71–90. http://dx.doi.org/10.1017/s0040557400009777.
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The Grosses Schauspielhaus in Berlin was a theatrical showplace in several incarnations. The building itself was initially a great market situated near the Spree River in the center of Berlin. In the latter part of the nineteenth century it was converted to an enormous circus which drew crowds to see outstanding exhibitions of horsemanship and other circus acts. It also served as a great meeting hall for such events as Robert Koch's international congress dealing with tuberculosis in 1890. The large amphitheatre in the huge building was a symbol of the growing population of Berlin and its increasing prosperity. The history of the various uses to which the theatre was put in the twentieth century is an important reflection of the changes in German society in this period. During the time of the Third Reich it was an important element in culture and propaganda under the direction of Dr. Joseph Goebbels. This paper will analyze the unusual architecture of the theatre and the productions of several plays which were important during the Third Reich.
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Warner, Deborah. "Exploring Space at Play: the Making of the Theatrical Event." New Theatre Quarterly 12, no. 47 (August 1996): 229–36. http://dx.doi.org/10.1017/s0266464x00010228.
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Deborah Warner is one of the most exciting of the generation of directors who emerged during the 'eighties – incidentally claiming for women a natural entrance into a profession previously dominated by men. In 1980 she formed the Kick Theatre Company, with whom over the following, formative years of her career she directed The Good Person of Szechwan, The Tempest, Measure for Measure, King Lear, Coriolanus, and Woyzeck. In 1988, following a production for the RSC of Titus Andronicus in the previous year, she became one of the company's resident directors, staging King John and Electra before moving in 1990 as an associate director to the National, where her first two productions were of The Good Person with Fiona Shaw and King Lear with Brian Cox. During the 'nineties, she has extended both the nature and the range of her work, directing Shaw in Hedda Gabler in Dublin, Coriolanus in German at the Salzburg Festival, Don Giovanni at Glyndbourne – and, in 1994–95, the season she discusses below, a revival of Beckett's Footfalls at the Garrick, controversially banned by the Beckett Estate, a dramatization of Eliot's seminal inter-war poem The Waste Land, premiered in Brussels, Richard II at the Cottesloe, with a woman, Fiona Shaw, in the title-role, and a project for the London International Festival of Theatre site-specific to the old railway hotel at St. Pancras. In September 1995 she discussed her recent and future work with Geraldine Cousin, who teaches Theatre Studies in the University of Warwick, where she has just completed a study of contemporary plays by women entitled Women in Dramatic Place and Time.
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Ioannidou, Eleftheria. "Editorial Introduction." Fascism 12, no. 2 (December 13, 2023): 107–15. http://dx.doi.org/10.1163/22116257-bja10067.
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Abstract This special issue examines the use of classical antiquity within artistic, cultural, and political events under fascist regimes in the interwar period. Fascist Italy and Nazi Germany promoted the production of ancient drama, alongside forms of theater modelled on Greek antiquity, organized grand-scale classical spectacles, and deployed ancient themes and classical-looking symbols and insignia at political gatherings and displays. The analyses presented in this special issue bring into dialogue the scholarship on theater and culture under fascist regimes with the growing literature on the reception of the classics to foreground the significance of performative practices in reconfiguring the classicizing mythologies of fascism. It is the hope of the guest editors that the findings presented here will contribute to the study of performances that strove to re-enact historical pasts beyond the scope of classical reception.
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Pavlovic, Diane, Phyllis Aronoff, and Howard Scott. "Theatre in the Museum: Rivage à l’abandon." Canadian Theatre Review 64 (September 1990): 38–44. http://dx.doi.org/10.3138/ctr.64.006.
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Livage à l’abandon (Despoiled Shore), mounted by Carbone 14 in February 1990, was born of a double impetus, museological and theatrical: the Musée d’art contemporain de Montréal had asked Gilles Maheu to create a finale to the Blickpunkte event, exhibitions which focused on various facets of contemporary German art, and Maheu chose for the occasion to go back to Heiner Müller, by whom he is fascinated and whose Hamlet-Machine he had already staged in 1987. The entire museum was offered to Maheu. Inspired by this huge empty space filled with connotations, he decided to present the trilogy Rivage à l’abandon I Matériau-Medée / Paysage avec Argonautes (Despoiled Shore / Medeamaterial / Landscape with Argonauts). An unusual place for theatre, the museum itself would become an integral part of his project. His vision coincided with the museum’s desire to broaden its role, and he conceived a work between performance and opera, pursuing the multidisciplinary path he had already chosen for himself and trying to push back a little further the boundaries of traditional theatricality. Having chosen people for conception and design and the cast in the same spirit of opening up the boundaries between genres, he also wanted to try a new kind of experiment, and he asked me, who had become very familiar with his work through my activities as a critic, to assist him in the conception and direction of the production. It is thus as a participant and privileged observer that I give this account of the process of creation of the show.
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Höhn, Maria. "Frau im Haus und Girl im Spiegel: Discourse on Women in the Interregnum Period of 1945–1949 and the Question of German Identity." Central European History 26, no. 1 (March 1993): 57–90. http://dx.doi.org/10.1017/s0008938900019968.
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Defeat after the Second World War was complete for Germany, and life for the civilian population was grim. In one of Erich Kästner's poems, read at a 1947 theater production, a war widow laments that “ganz Deutschland ist ein Wartesaal mit Millionen von Frauen.” Indeed, in 1945 there were approximately seven million more women in Germany than men. More than three million German soldiers were killed in the war. Seven million German soldiers were still prisoners of war, leaving their wives and families to fend for themselves in the rubble heaps of the German cities. Adding to the hardship of the rural areas were the twelve million refugees who had been expelled from the territories conquered by the Soviet army and then had streamed into the American and British zones of occupation to resettle. Defeated Germany was split into four zones of occupation ruled by military governments. German men who had been promised the conquest of the world returned from the war and found their treasured patriarchy undermined in the home and in the state.
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Bentia, Iuliia. "The Repertoire Strategy of the Kyiv Modern Ballet after the Full-Scale Russian Invasion to Ukraine: Tomorrow, DiscrimiNATION, and One Minute Before Christmas Ballet Productions." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 80–87. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306910.
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After the beginning of the full-scale Russian invasion to Ukraine in February 2022, the Kyiv Modern Ballet Academic Theater stopped its activities for several months. However, already in 2023, the renewed company under the direction of choreographer Radu Poklitaru presented first performances of three ballet productions. Poklitaru’s ballet Tomorrow, set to the music of the second movements of Chopin’s First and Second Piano Concertos, continues the tradition of ballet Chopinianas: a twenty-minute-long, plotless composition tries to capture the sense of the future, of tomorrow, which in the first months of the Great War seemed lost forever. Twice as long and generally bigger, the ballet production DiscrimiNATION, set to music by George Frideric Handel (fragments from oratorios, operas and instrumental works) and piano Bagatelles by Valentyn Silvestrov, explores through dance various forms of discrimination, e.g., bullying, ageism, homophobia, social and media pressure, shrinking private space and rising social inequality. Developing the line of socially engaged theater, DiscrimiNATION, directed by Radu Poklitaru, is far from moralizing or direct political statement. The third production of the Kyiv Modern Ballet in 2023 was directed by Serhii Kon. One Minute Before Christmas is a family-friendly production, which, in the form of a ballet fairy tale, very close to today’s war reality, interprets the nature of evil and at the same time parodically reinterprets the previous productions of the theater, in particular, the ballets The Nutcracker and Swan Lake set to Tchaikovsky’s music (after February 2022, Kyiv Modern Ballet suspended all performances set to music by Russian composers, including those based on Russian literary works). The 2023 productions revealed three promising and at the same time contrasting trends in the repertoire strategy of the Kyiv Modern Ballet: “ballet essays,” plotless performances that reinterpret the neoclassical tradition of the twentieth century; social dance theater that sets itself specific tasks and tries to influence current public debates; and artistically persuasive and commercially successful productions for young audiences.
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Männiste, Kerttu. "Tension. Expressionist Artistic Style in Stage Design and Original Artworks of the First Half of the 20th Century." Baltic Journal of Art History 21 (August 20, 2021): 107–27. http://dx.doi.org/10.12697/bjah.2021.21.06.
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Despite turning professional in the first decade of the 20th century,the material and practical capabilities of Estonian theatres initiallyremained modest. This hindered the development of stage design– a field dependent on the creative ideas of artists as well as ontechnical resources. The stage designs that used stock scenery, werestylistically uneven and often not suitable for a play’s material,received criticism from viewers-critics who were familiar with themodern developments in European and Russian theatre, especiallyfrom the members of the group Young Estonia.While Estonian artists were already familiar with the avantgardetrends in the European, and specifically German culturallife prior to WWI, in Estonian theatres expressionism appearedin the 1920s, both in terms of ideas, ideals and stylistic methods.Larger theatres were able to refresh their theatrical language withthe expressionist, stylised acting methods and new visual andscenographical solutions. The stage designer for Estonia Theatre’sinnovative productions was Peet Aren, who had already establishedhimself as an expressionist artist by the 1920s. On the stage, he alsorealised his unique artistic style: by luxated perspectives, deformedshapes, excessive colourfulness and playfulness.The ideological plane of expressionism was central in MorningTheatre (Hommikteater), active in Tallinn in 1921–1924. MorningTheatre’s troupe of amateurs under the direction of the visionaryAugust Bachmann brought out three plays which were expressionistin their message and style. Although in theatre history the stagedesigns of Morning Theatre have been associated with Peet Aren,the study of original sketches in the archive of the Estonian Theatreand Music Museum confirms that the author of Morning Theatre’sstage designs was artist Aleksander Möldroo, a representative ofthe more powerful and robust style of expressionism. With MorningTheatre’s laconic, stylised scenography, Estonian stage design madean important developmental leap from commonplace stage designtowards a theatrically conditional and artistic stage décor.
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Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (May 1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.
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International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the environment. The study analyzes the performance of the two plays and addresses some contradictions arising from the involvement and influence of external organizations. Marion Frank is a graduate of Bayreuth University in Germany, whose extensive field research has resulted in the publication of AIDS Education through Theater (Bayreuth African Studies Series, Bayreuth, 1995). Dr. Frank is currently living in the US, where as a Visiting Scholar at Duke University she is now working on a research project aiming to establish a closer link between literary/cultural studies and medicine/medical anthropology.
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Usadel, Marie, and Francesco Corgiolu. "Der Brückenbauer. Intervista con Dario Siddi." Ex Novo: Journal of Archaeology 6 (February 11, 2022): 197–207. http://dx.doi.org/10.32028/vol6isspp197-207.
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Dario Siddi was a teacher and a student, theater director and actor, an archaeologist. Born in 1944 he lived and worked as a middle school teacher in Sant’Antioco and Calasetta in Sardinia. In 1988 he founded Il Calderone, a small theater company: however, over time the association would also become active in other areas of social and cultural life in Sant’Antioco, from the integration of immigrants to the organization of cinematic events. After his passing in 2020 his friends called him a bridge-builder, which is probably the best description of the role he played in the archaeological life of Sant’Antioco.
Together with his fellow members of Il Calderone he initiated a cooperation with researchers of the Ruhr-University Bochum (Germany). The resulting archaeological project, under the direction of Constance von Rüden, is aimed at investigating the prehistoric settlement system of the Canai-plain in the southern part of Sant’Antioco with a particular interest in the Nuragic period. Since 2017 there have been annual field campaigns comprising a systematic survey in the plain, targeted prospection of the surrounding Nuragic sites as well as the detailed documentation of the area called Gruttiacqua in the south-western part of the Canai-plain. In 2019 it was possible to begin excavating part of the Nuragic village of Gruttiacqua. Since this project represents one of the rare cases where the archaeologists were chosen by the community and not the other way around, the cooperation between students, international researchers and members of Il Calderone is an essential, original element that directly and more effectively involves the local community.
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Лурье, Зинаида Андреевна. "THEATER OF THE EARLY MODERN PERIOD: BETWEEN “SCHOOL” AND “CITY”." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(26) (November 22, 2020): 98–111. http://dx.doi.org/10.23951/2312-7899-2020-4-98-111.
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В статье на материале позднесредневековой Германии рассматривается место театра как коммуникативного канала в городском пространстве. Автор исходит из представления о том, что в диалоге между властью и городской общиной важнейшую роль играли паратеатральные практики (процессии, различные игры и пр.), тогда как собственно спектакли начиная с первых десятилетий XV в. были каналом внутригородской коммуникации. К производству спектаклей имели доступ разные сословия, что обуславливало в целом нейтральный характер театральных текстов, выполняющих главным образом консервативную и развлекательную функции. Изменилась ли роль театра в связи с развитием гуманизма и с институциализацией театра внутри школьной системы в раннее Новое время? В статье предпринята попытка ответить на этот вопрос на материале творчества раннего протестантского литератора Сикста Бирка. В историографии его творчество рассматривается через призму политического измерения, а сам он – как весьма рафинированный, интеллектуальный литератор. Однако, как считает автор статьи, тексты Бирка мало отличаются от позднесредневековой традиции. Анализ показывает, что Бирк утверждает все те же ценности стабильности и транслируют прежние топосы. Однако «Школа» явно подталкивает «Город» к осмыслению социального опыта. The article, based on the material of late medieval Germany, examines the place of the theater as a communicative channel in urban space. The author proceeds from the idea that paratheatre (processions, various games, etc.) played an important role in the dialogue between the authorities and the city community, whereas performances themselves, starting from the first decades of the 15th century, were a channel of intercity communication. Different classes had access to the production of performances, which led to the generally neutral nature of theatrical texts that performed mainly conservative and entertaining functions. Has the role of the theater changed in connection with the development of humanism and institutionalization of the theater within the school system in the Early Modern Period? The article attempts to answer this question on the material of the works of the early Protestant writer Sixt Birck. In historiography, his works are viewed through the prism of the political dimension, and he is classified as a very refined, intellectual writer. However, according to the author of the article, Birck’s texts differ little from the late medieval tradition. The analysis shows that Birck maintains the same values of stability and medieval topoi. However, the "School" clearly pushes the "City" to comprehend social experience.
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Scheer Rahal Valverde, André Guilherme, and Jorge Muniz Junior. "PUBLIC POLICIES AND HUMAN RESOURCES TRAINING FOR INDUSTRY 4.0." Revista Prociências 6, no. 2 (January 4, 2024): 24–46. http://dx.doi.org/10.15210/prociencias.v6i2.25944.
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The term industry 4.0 (I4.0) was coined in Germany in 2011 and can be seen as the movement to digitize and automate processes in the field of manufacturing, its implementation requires a workforce with new qualifications. In this article, through a literature review, public policies for the implementation of I4.0 were analyzed in Germany, China, the United Kingdom (GB), Sweden, Japan, and Brazil, cataloging them into three themes, Employees - issues related to human Resources; Production – referring to the physical resources used in the production process; Social – relating to the creation and sharing of knowledge among workers and the effects on society in general. The research revealed that Germany, China, GB and Japan have greater similarities in their way of adopting I4.0, especially in the great focus on research, adaptation of their human resources and constant professionalization of the workforce, however China differs especially in the way of distributing it, focusing on large and centralized companies, while the others focus on a more democratic distribution, covering more regions and small and medium-sized companies. Finally, as for Brazil, despite having some initiatives in the right direction, they are few and fail to resolve the lack of understanding of the benefits of I4.0, the lack of technological infrastructure and financial restrictions.
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Vasyanovych, H., and T. Blahova. "LES KURBAS ARTISTIC AND PEDAGOGICAL SCHOOL IN THE DEVELOPMENT OF CHOREOGRAPHIC EDUCATION IN UKRAINE." Aesthetics and Ethics of Pedagogical Action, no. 24 (December 26, 2021): 107–21. http://dx.doi.org/10.33989/2226-4051.2021.24.255908.
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The article substantiates the relevance of the artistic and pedagogical heritage of the outstanding Ukrainian director of the XX century, a theater teacher, a thinker, and a founder of the national modern theater Les Kurbas, and his influence on the development of choreographic education in Ukraine. His stage-creative and pedagogical contribution to an actor’s plastic culture formation is analyzed. It has been found that the master’s achievements are formed into a coherent pedagogical system and a separate paradigmatic direction of theater education. The significance of the ‘Berezil theater school’ phenomenon in the formation of concepts of national choreographic pedagogy is studied. The complex of innovative artistic and aesthetic principles of work with future stage art performers, introduced by L. Kurbas, is characterized.
It is proved that Berezil art and pedagogical system created by L. Kurbas, in general, caused innovative changes in the choreographic training of actors and directors in the first third of the XX century. It significantly adjusted the training content, defined strategic guidelines in the formation of theoretical and practical principles of professional choreographic education. Firstly, in determining the essential features of the updated model of actor training, the status of dance as an integral part of acquiring the basics of professional skill was significantly strengthened. The formation of choreographic training content in theater universities was influenced by the choreographic and pedagogical ‘Berezil’ achievements in the areas of expanding the content of the course ‘Stage Movement,’ active implementation of the principle of unity of theoretical training with practical study of ‘Fundamentals of Acting.’ Secondly, the large-scale educational work of the Berezil association had primarily a pedagogical meaning, played a significant role in educating a wide range of amateur actors, coordinating the activities of its branches. The heads of Berezil’s peripheral studios synthesized innovative creative ideas in the field of choreographic education along with the theatrical vertical, involving working and rural youth in their understanding.
The study summarizes the leading trends of the master’s educational activities in the field of actor and director professional training by means of expressive stage movement. Among the promising key principles of the concept of choreographic education of actors and directors, formed by L. Kurbas, the deep ideological orientation, cultivation of new aesthetics of stage movement, integration of production and educational objectives, practice-oriented content, emphasis on self-improvement are singled out.
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Pismenskaya, Elena Borisovna, and Irina I.Skorobogatykh. "Development of the industry of synthetic materials in Russia with the application of sustainability / Desenvolvimento da indústria de materiais sintéticos na Rússia com a aplicação da sustentabilidade." Brazilian Journal of Development 8, no. 5 (May 20, 2022): 39334–40. http://dx.doi.org/10.34117/bjdv8n5-430.
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The production of synthetic materials is actively developing at the world: USA, Germany, Japan, China, India [1]. This is due perfect consumer properties of synthetic materials successfully compete with natural fabrics, and surpass them in some properties. At the same time, the production of synthetic materials is characterized by a reduction in labor and capital costs, automation of the process and the possibility of processing secondary materials. The article shows the measures of impact on the environment and production capacity to reduce the adverse impacts on the environment and the contribution of fabrics to the field of labor protection, through the development of modern personal protective equipment and workwear. These actions are a promising direction for the development of the manufacturing industry in Russia.
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Gaivoronskiy, I. V., and M. V. Tvardovskaya. "To the history of the creation of anatomical theaters in the Medical and Surgical (Military Medical Academy)." Bulletin of the Russian Military Medical Academy 22, no. 2 (June 15, 2020): 256–61. http://dx.doi.org/10.17816/brmma50083.
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Was established that the prototype of anatomical theaters in Russia was the anatomical theater of Leiden University (Holland), built in 1575. This theater is shown in color engraving of Cornelius Woodan, created in 1610. In St. Petersburg, at the Department of Anatomy and Physiology of the Imperial Medical and Surgical Academy, this engraving was received in 1805 as part of the collection of the anatomist V. Kruikshenk, acquired for the academy with the direct assistance of Emperor Alexander I. In Russia, the first anatomical theater appeared only in 1708. It was created at the Moscow Medical and Surgical Academy. Historians connect his appearance with a visit in 1697 by Emperor Peter the I of Leiden University. In St. Petersburg, the history of anatomical theaters dates back to the PetrovskayaKunstkamera, built in 1722. It demonstrated rarities - freaks, and also heard scientific reports. Russian anatomical theaters as an arena for the production of public spectacular autopsy did not receive their development but became an integral part of the anatomy department at higher educational institutions. Such an anatomical training theater was built at the foundation of the Imperial Medical and Surgical Academy on the right bank of the Neva in a stone two- story building. The first head of the Department of Anatomy and hysiology, P.A. Zagorsky took part in its design and equipment. Zagorsky. There was a table in the center of the amphitheater, the dimensions of which made it possible to demonstrate a whole corpse at a lecture, to conduct physiological experiments. In this amphitheater, lectures were given by Professor P.A. Zagorsky, I.V. Buyalsky, P.A. Naranovich. It lasted until 1871. The creation of a new anatomical theater in Imperial Medical and Surgical Academy is associated with the name of Professor V.L. Gruber, who after N.I. Pirogov headed the Anatomical Institute. In 1857, V.L. Gruber visited 13 anatomical institutes in Germany and in his trip report substantiated the idea of building a new anatomical building - a specialized Anatomical Institute. V.L. Gruber report was approved by the Academy Conference, headed by its head - P.A. Dubovitsky. In 1864, the building was laid, the construction of which was completed only in 1871. The construction was carried out under the guidance of an engineer - captain of the academician of architecture K.Ya. Sokolova. In this three-story building, the current Anatomical building, two classrooms were built in each wing - № 1 and № 2. They look like an amphitheater and are a prototype of the best European anatomical theaters. Currently, overhaul has been carried out in this building; the design of the anatomical theater has been preserved in classrooms 1 and 2. These auditoriums, which are a historical monument of the Imperial Medical and Surgical Academy, are equipped with modern technical training aids. It is in these classrooms that cadets and students of the S.M. Kirov Military Medical Academy are currently starting their journey into medicine.
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Jałowiec, Tomasz, and Henryk Wojtaszek. "Analysis of Directional Activities for Industry 4.0 in the Example of Poland and Germany." Sustainability 14, no. 7 (March 24, 2022): 3848. http://dx.doi.org/10.3390/su14073848.
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An analysis of directional activities in Poland and Germany towards the implementation of Industry 4.0 was carried out by comparing the common sustainable development features. The value of production sold along with the benefits of its implementation are presented. The transformation map was characterized along with development areas and potential directions of automation and robotization. Technological possibilities were assessed, considering the production of robots. The execution of activities aimed at implementing solutions in the field of Industry 4.0 in Poland was indicated. The key information gleaned in this study is the awareness of the implemented features proving the fulfillment of conditions relating to Industry 4.0. Action towards the sustainable replacement of machines that require repair or regeneration is significantly related to thinking towards rationalizing the actions taken and assessing the financial capabilities of companies so as not to lead to their collapse. The article presents original research on the characteristics of selected production companies in Poland and Germany striving for digital maturity and the results of our hypotheses. The key direction should be activities aimed at developing a coherent strategy, the proper selection and evaluation of managers, focusing on communication, and the pursuit of intelligent products by creating appropriate integration standards that facilitate the implementation of an innovative process generating modern technologies.
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Lysell, Roland. "Strindbergs dramatik på tyskspråkiga scener." Tidskrift för litteraturvetenskap 41, no. 3-4 (January 1, 2011): 47–61. http://dx.doi.org/10.54797/tfl.v41i3-4.11782.
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Strindberg’s Dramas on German Stages
This article provides an overview of stage productions of Strindberg’s plays on German stages from 1890 to 2011, and discusses their importance for German directors. The first Strindberg performance to be staged in Germany was Otto Brahm’s The Father produced by the Freie Bühne in Berlin in 1890. The most suitable authors for the naturalistic aesthetic ideals of the Freie Bühne, however, were Hauptmann, Ibsen and Tolstoy. Strindberg was involved in several lawsuits during the 1890’s, making him a controversial figure. However, by the first decade of the 20th century, about twenty-five of his plays were being performed in Germany.
In 1912 the so-called “Strindberg Boom” began; fifty Strindberg dramas were put on stage and the German expressionists even compared Strindberg to Shakespeare. Two theatres were of greater significance than the others. At the Deutsches Theater and the Kammerspiele Max Reinhardt – the first director able to fulfill Strindberg’s dramatic intentions in his late plays – made five legendary productions, beginning with The Dance of Death in 1912. At the Theater in Königgrätzer Straße in 1916, Rudolf Bernauer produced A Dream Play in a more idyllic and less experimental fashion than his contemporary, Reinhardt. By contrast, Reinhardt’s productions utilized lighting, sound effects and a gloomy milieu in order to emphasize the metaphysical anxiety of human beings in a world beyond their comprehension. The importance of the expressionists – and, eventually, of Strindberg himself – decreased after World War I. Given the Nazi party’s dislike of his work, Strindberg’s plays were not performed in Germany at all after 1933.
The first important Strindberg production staged after World War II was Fritz Kortner’s The Father, first performed in Munich in 1949. In the 1950’s the influence of Kafka and Existentialism had revised Strindberg’s image. About ten of his plays had survived, and today, the most frequently performed of these is Miss Julie. During the 1960’s, when the German stage was dominated by political theatre, Strindberg was hardly performed at all. However, in the early 1970’s stage productions of The Dance of Death by Rudolf Noelte and The Ghost Sonata by Hans Neuenfels were the peaks of a new, ephemeral wave of interest in Strindberg.
To this day, the final important German stage director possessed of a pronounced interest in Strindberg was Ernst Wendt. Wendt was, however, strongly criticized by literary scholars and translators for placing emphasis upon the destructive and depressive aspects of Strindberg’s work, and overlooking Strindberg’s role as a radical critic and an inquisitive inventor.
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Krivopalov, A. "Southern Flank of the U.S. Military Deployment in Eastern Europe." World Economy and International Relations 68, no. 7 (2024): 25–34. http://dx.doi.org/10.20542/0131-2227-2024-68-7-25-34.
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This paper deals with the issue of the growing military-strategic partnership between Romania and the United States, and addresses its effects on the post-Soviet countries. After 2022, the U.S. has become increasingly interested in the Danubian theater of operations, deploying a sizeable contingent of American ground troops in Romania. Making use of its partnership with the Americans, and inspired by the successful example of Poland, the Romanian government started to modernize its national armed forces after years of technological stagnation. One can reasonably assume that the consequences of this policy could affect Moldova and Transnistria, shifting the regional balance of power in a direction unfavorable to Russia. At the present stage, however, the U.S. – authorized infusion of relatively modern Western weapons into the Romanian army is primarily aimed at offsetting the technological gap, which had formed during the Cold War years and intensified in the 1990s?2000s. The events of the 2022 Ukrainian crisis presented Bucharest with a chance to strengthen its position within the United States’ strategic framework and, as a result, dramatically expanded the scope of its military and technical partnership with Washington. The Romanian leadership seems eager to capitalize on the growing American interest in the rapid and lasting takeover of the Danube theater of operations. It cannot be ruled out that this trend will affect Moldova, which maintains close political ties with Romania. The American base of operations has not shifted to Eastern Europe so far. The rear logistics command of the U. S. European Command remains in the same location it was originally established during the Cold War. The forces deployed as part of the Operation Atlantic Resolve have only slightly advanced closer to the conflict zone. That said, the experience of the Cold War and, more specifically, the deployment of American forces to provide cover for West Germany and South Korea suggests that, in order to effectively deter a would-be adversary, the rear base of operations must be located inside the confines of the potential combat theater, not outside of it. The current deployment of U.S. troops, therefore, appears to be an act of politics rather than strategy. In the eyes of Eastern European leaders, even a marginal, purely symbolic United States’ military presence acts as a psychologically significant form of assurance against a hypothetical escalation vis-a-vis Moscow. At the same time, the American deployment in Eastern Europe resembles a “sanitary cordon” rather than an “iron curtain” in the sense that it is motivated more by political considerations than by strategic concerns. The fact that the recent U.S. military preparations are purely demonstrative in nature, as opposed to establishing a full-scale logistics command in a potential combat theater, means that Russia can continue to respond with similar symbolic gestures and warning signals.
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Wilmer, S. E. "Cultural Encounters in Modern Productions of Greek Tragedy." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 15. http://dx.doi.org/10.7146/nts.v28i1.23969.
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The exiled character in need of asylum is a recurrent theme in ancient Greek tragedy. In many of these plays, we see uprooted and homeless persons seeking sanctuary, and for the ancient Greeks, hospitality was an important issue. Many of these plays have been updated to comment on the current social and political conditions of refugees and often reflect on the notion of hospitality, something which both Emmanuel Levinas and Jacques Derrida considered to be fundamental to ethics.
Recently there has been a series of demonstrations and occupations of public spaces by asylum seekers that has gained considerable news coverage. In Austria a group of about sixty refugees (from the Afghanistan-Pakistan border area) occupied the famous Votiv church in the middle of Vienna in 2012 and went on hunger strike. In Germany a large group of asylum seekers marched from various parts of the country to Berlin where they occupied the square at the Brandenburg Gate before being allowed to establish a tent community in Kreuzberg. In Hamburg a group of 80 asylum seekers who came to Germany via Lampedusa found refuge in St Pauli church, and it was there that Nicholas Stemann presented a first reading of Elfriede Jelinkek’s play Die Schutzbefohlenen in September 2013. More recently right-wing groups have mounted weekly marches through Dresden to call for a halt to immigration, and these have been contested by simultaneous counter-demonstrations in favour of immigrants and refugees. In this paper I will consider several adaptations of Greek tragedy that highlight cultural encounters between the local population and those arriving from abroad who are looking for asylum. In particular I will examine Stemann’s production that has been running at the Thalia Theater in Hamburg since September 2014, and features asylum seekers from Lampedusa on stage who beg the audience for the right to remain in Germany.
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Savina, Zoya. "Germany’s Political and Economic Interests in Africa: Opportunities and Challenges." Uchenie zapiski Instituta Afriki RAN 61, no. 4 (December 5, 2022): 60–69. http://dx.doi.org/10.31132/2412-5717-2022-61-4-60-69.
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Today, Africa occupies an important place in Germany’s foreign policy agenda. Africa is a resource-rich continent, and many African countries are rapidly developing economies. In this regard, Germany is actively seeking to increase economic relations with Africa. Special attention is paid to assisting African countries in solving the problems of poverty, in the development of production, as well as the fight against the coronavirus pandemic. The article is devoted to the economic direction of German-African policy at the present stage. The author attempts to give an overview of current trends in German-African relations.
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Vakhmistrova, Svetlana I. "S. Mamontov and V. Telyakovsky as two fields of attraction in the fate of F. Chaliapin1 and the Russian opera theater." Historia provinciae – the journal of regional history 5, no. 1 (2021): 146–82. http://dx.doi.org/10.23859/2587-8344-2021-5-1-4.
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Using meaningful historical material, the article explores the parallels of the creative careers of such great developers of the Russian opera of the late 19th – early 20th centuries as F. Chaliapin, S. Mamontov, and V. Telyakovsky. It was the period of rapid development of innovative stage direction, vocal art, and stage design. The outstanding organizers of theater business S. Mamontov and V. Telyakovsky were at the heart of that creative seething. Being representatives of different social strata (the merchant class and higher nobility), they attracted vivid talents and opened them the way of the private and state opera, respectively. The flourishing of operatic art led to a completely new level of performance. F. Chaliapin and a number of other outstanding representatives of Russian opera began their careers at that time. S. Mamontov’s Private Opera which played a significant role in the development of Russian operatic art was founded in 1896. The repertoire of this theater consisted of works by Rimsky-Korsakov, Mussorgsky, and Borodin. Innovative approaches to the opera performance which was considered as a living synthetic phenomenon integrating the concepts of production and stage design were implemented on the Russian stage for the first time. In its productions, Mamontov’s Private Opera used the principles of realism, which corresponded to the spirit of the works performed. Meanwhile, the development of Russian opera during this period was taking place against the background of complex social relations which aggravated many contradictions both in the life of the society as a whole with its differentiation into metropolitan and provincial life, and in the life on the stage with its specific very mobile interpersonal communications. The article focuses on the careers of S. Mamontov, F. Chaliapin, and V. Telyakovsky. Each of them made an invaluable contribution to the development of Russian opera. From the perspective of the historical culturological approach, the article examines the complicated relationship between the prominent Russian philanthropist and theater director Savva Mamontov, the flexible administrator Vladimir Telyakovsky, and the outstanding opera singer Feodor Chaliapin, and their influence on the formation of the personality of an opera performer and on the development of operatic art in Russia as a whole. The article presents abundant documentary evidence of the peculiarities of their relationship which ultimately determined the vector in the development of the Russian opera theater.
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Serov, Iurii Eduardovich. "Music for the ballet “The Twelve” by Boris Tishchenko in the context of the revival of Russian symphonic style of the 1960s." Человек и культура, no. 4 (April 2021): 59–72. http://dx.doi.org/10.25136/2409-8744.2021.4.36269.
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The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939–2010). The article analyzes the composer's first major ballet based on the poem “The Twelve” by A. Blok, which was requested in 1963 by the outstanding Soviet choreographer L. Yakobson for production design in the Kirovsky Theater in Leningrad. The author examines such aspects of the topic as Tishchenko's innovative role in the revival of Russian symphonic style in the second half the XX century, interrelation between music and poetry in the orchestral compositions of B. Tishchenko, as well as strong influence of the literary concepts upon the development of his symphonic style. Special attention is given to the topic of B. Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko's ballet “The Twelve” is the first truly contemporary ballet performance in the Soviet musical theater. The author’s special contribution to this research consists in comprehensive examination of the works of the prominent Russian composer that have not receive due attention of the musicologists. The novelty lies in demonstration of the important role of Boris Tishchenko in the overall process of the revival of the Russian symphonic music of the 1960s on the example of the ballet of his early period. Developing his original artistic concepts, Tishchenko symphonized the ballet performance, paving the way for many Soviet composers in this direction.
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Kumar, P. Sai, and N. T. Krishna Kishore. "Direction of trade of Indian arabica coffee." INTERNATIONAL JOURNAL OF AGRICULTURAL SCIENCES 19, no. 1 (January 15, 2023): 122–25. http://dx.doi.org/10.15740/has/ijas/19.1/122-125.
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Coffee (Coffea) is one of the most valuable commercial crops and the second most traded agricultural commodity on a global scale. Around 100.55 lakh MT of coffee will be consumed worldwide in 2019–20. South America, Asia, Africa, and Central America were identified as major coffee-growing regions, comprising of countries Brazil, Vietnam, Colombia, Indonesia, Honduras, Ethiopia, India, Uganda, Peru, and Mexico. While Brazil and Vietnam contribute 50 per cent of the world’s coffee, India stands at 7th position in terms of production and exporting 2,61,374 GBE (Green Bean Equivalent - Quantity In MT) of coffee to the world, worth of Rs. 4131.82 crores during 2019-20 and contributes 2.5 per cent to the nation’s primary sector export earnings. Markov Chain analysis helps to understand the export pattern of Indian arabica coffee. Italy, Belgium, Germany, U.S.A, Switzerland, United Kingdom, France, Australia, Russian Federation and some other countries are the major importers of Indian arabica coffee. The only consistent importer of Indian arabica coffee was Italy. Despite having many major importers, India was unable to maintain a consistent share of the global market. Because of increased competition, arabica coffee’s export share has been declining. One of the major reasons for this decline was tough competition from Brazil, Vietnam, Colombia, Indonesia, Honduras, and Ethiopia. This shows that there is a need to frame policies in favor of increased coffee marketing to gain the competitive advantage in the global coffee market.
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Valdemaras, Makutenas, Miceikiene Astrida, Svetlanska Tatiana, Turcekova Natalia, and Sauciunas Tadas. "The impact of biofuels production development in the European Union." Agricultural Economics (Zemědělská ekonomika) 64, No. 4 (April 12, 2018): 170–85. http://dx.doi.org/10.17221/285/2016-agricecon.
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The article analyses the effects of the development of biofuel production in the EU (European Union) countries. For this purpose, the authors develop and adapt methodology to determine biofuel production effects considering resource prices, the areas of distribution and employment in the EU. Twenty-seven EU member states are selected for empirical research. Over 98% of production is devoted to first-generation biofuels; therefore, second- and third-generation biofuels are not analysed. The empirical study is carried out by analysing the dynamics of quantitative indicators, and we assess changes in direction by setting the values of qualitative indicators. Quantitative and qualitative indicators are calculated using correlation analysis. The results suggest that the fastest growth of ethanol production in the EU took place in Finland, Ireland and the Netherlands. During the analysed period, Germany and France were the largest producers of ethanol and biodiesel. The regression analysis showed a very strong correlation between the number of jobs created and biofuel production. There is also a very strong correlation between the volume of production of biofuels and land used for biofuel feedstock production. The production of biofuel does not significantly affect food and feed crop prices.
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Palvinskiy, A. G., E. O. Bakhrushina, Z. M. Kozlova, A. A. Sinitsyna, and I. I. Krasnyuk. "Development of Thermoreversible Dental Gel with Berberine." Drug development & registration 9, no. 4 (November 26, 2020): 88–92. http://dx.doi.org/10.33380/2305-2066-2020-9-4-88-92.
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Introduction. Dental gel is one of the modern dosage forms with optimal biopharmaceutical properties for the treatment and prevention of oral diseases An isoquinoline alkaloid berberine is the promising active substance with antibacterial and anti-inflammatory effect, capable of forming stable dispersed systems with gel-forming components. It is noteworthy that, despite the pronounced antimicrobial activity of the alkaloid berberine, there is currently no dental dosage form with this component on the pharmaceutical market, and therefore research in this direction is of great interest.Aim. Selection of the optimal technology for obtaining dental gel with berberine for the treatment of oral diseases.Materials and methods. Berberine bisulfate (manufactured by CJSC «Vifitech», Obolensk, Moscow region, RF), poloxamers P407 and P338 (EP, USP/N; BASF, Germany), propylene glycol (USP; BASF, Germany), sodium chloride (Sigma-Aldrich, Germany, Cat. No. S9888), mucin type II from a pig stomach (Sigma-Aldrich, Germany, Cat. No. M2378). In the development of the composition and technology for the preparation of gels, a magnetic stirrer with a temperature control function (C-MAG HS 7 from IKA, Germany) was used. Gels were prepared by the «hot method» and «cold method».Results and discussion. The production of the gel by the «hot method» provided a uniform dosage form. The obtained pH value is within the range of optimal diapason. Measurement of the specific peel force of the model gel sample showed pronounced mucoadhesive properties, which indicates that there is no need to adjust this parameter by introducing additional components into the formulation. The spectroscopic method is applicable for the analysis of berberine gel. It has been found that a significant dilution of the reference substance sample is required to develop an identification procedure.Conclusion. The production of a sample of the dosage form by the «hot method» is optimal, which is probably due to the effect of solubilization and better distribution of the active substance in the base.
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Bauer, Franziska, Michael Stix, Bernadett Bartha-Dima, Juergen Geist, and Uta Raeder. "Spatio-Temporal Monitoring of Benthic Anatoxin-a-Producing Tychonema sp. in the River Lech, Germany." Toxins 14, no. 5 (May 20, 2022): 357. http://dx.doi.org/10.3390/toxins14050357.
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Incidents with toxic benthic cyanobacteria blooms have been increasing recently. In 2019, several dogs were poisoned in the river Lech (Germany) by the benthic anatoxin-a-producing genus Tychonema. To characterize spatial and temporal distribution of potentially toxic Tychonema in this river, a systematic monitoring was carried out in 2020, focusing on the occurrence of the genus, its toxin production and habitat requirements. Tychonema and cyanobacterial community composition in benthic mats and pelagic samples were identified using a combined approach of microscopy and DNA sequencing of the 16S rRNA gene. In addition, anatoxin-a concentrations of selected samples were measured using the ELISA method. The habitat was characterized to assess the ecological requirements and growth conditions of Tychonema. Tychonema mats and anatoxin-a were detected at several sampling sites throughout the entire study period. Toxin concentrations increased with the progression of the vegetation period and with flow direction, reaching values between 0 and 220.5 µg/L. Community composition differed among pelagic and benthic samples, with life zone and substrate condition being the most important factors. The results of this study highlight the importance of monitoring and understanding the factors determining occurrence and toxin production of both pelagic and benthic cyanobacteria due to their relevance for the health of humans and aquatic ecosystems.
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Kulakova, Svitlana, and Oksana Zhytnyk. "PROCESSING INDUSTRY AS A STRATEGIC DIRECTION OF UKRAINIAN ECONOMIC DEVELOPMENT." Financial and credit systems: prospects for development 2, no. 9 (June 30, 2023): 34–41. http://dx.doi.org/10.26565/2786-4995-2023-2-04.
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The article examines the processing industry as a strategic direction of the general economic development of the Ukrainian economy. The study analyzed the efficiency of not only the processing industry, but also the industrial sector as a whole. In particular, it was found that the total industrial GDP of Ukraine, determined by the production method, in 2021 amounted to UAH 1,111,762 million, of which 50.42%, or UAH 560,527 million, belonged to enterprises in the processing sector. At the same time, among all sectors of the economy, the specific weight of the processing industry in the GDP for 2021 is 10.28%. This makes processing production one of the key types of economic activity of the national economy of Ukraine, and, accordingly, defines it as strategically important for improving the socio-economic well-being of the population.
The authors paid special attention to highlighting the importance of micro, small and medium-sized enterprises (MSMEs) for the development of the processing industry of Ukraine. MSMEs account for more than 99% of the number of business entities in the studied production area, and therefore, strengthening the competitiveness of enterprises of these types will have a positive impact on the overall growth of the Ukrainian economy.
The next stage of the research focused on the analysis of the productivity of the processing industry of the European Union. The dominance of the studied industry among other sectors of the EU industry was established. Germany and France can be called leaders in the processing sphere among European countries, while Poland lags significantly behind them in terms of added value.
Ukraine is an active candidate for joining the European Union.Thus, in addition to the adaptation of Ukrainian legislation to European standards, it is also necessary to increase the level of efficiency of the enterprises of the processing industry. In this case, it is important to strengthen the competitiveness of Ukrainian industrial products on the European market with the aim of constantly increasing the volume of exports of Ukrainian industrial goods to European countries. The authors found out that the balance of foreign trade turnover of Ukraine in 2022 as a result of trade with the EU amounted to 1.8 billion dollars.
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Ichim, Traian. "The Innovative Element in the Genre of Opera or the Modernity of Artistic Expression in the Contemporary Lyric Theater." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 211–20. http://dx.doi.org/10.24193/subbmusica.2024.1.15.
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This paper examines the evolutionary process of moving from traditional styles to pioneering directions in the opera genre. This phenomenon expressed itself in a mixture of styles and forms of language, in the integration of different types of artistic means of expression. Another issue would be related to the nature of the lyrical tradition, its need for preservation and continuity, and the extent to which innovation is tolerated in opera to ensure that artistic works do not cross genre boundaries. It is a new phenomenon for contemporary actors and audiences, the one present in the theater today. By examining the evolution of the art of opera, it was possible to identify the general pattern of development of innovative opera and to argue that artistic integration is the source of diversity on stage and the basis of innovation in opera production. For this purpose, a cultural-historical and historical-artistic approach was used. The academic novelty of the study consists, first of all, in the complex analysis of the sources related to the translation of meta-language in lyrical art, and secondly, the incorporation of these sources in the academic circulation as important and significant for the recognition of the reform of the opera genre. Keywords: opera performance, opera direction, traditions, innovations, synthesis of arts, meanings.
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BÓRAWSKI, PIOTR, MARIIA KUPTSOVA, ANDRII SLIS, and RAFAŁ WYSZOMIERSKI. "SUSTAINABLE DEVELOPMENT OF BIOGAS MARKET IN THE EUROPEAN UNION." sj-economics scientific journal 31, no. 4 (December 30, 2018): 387–98. http://dx.doi.org/10.58246/sjeconomics.v31i4.77.
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Biogas is an alternative renewable energy source in Europe. The feedstock (biomass) for biogas can be waste from various industries. There are two methods of biogas generation that allow processing of organic waste into an accessible energy resource: thermal and chemical. This article also discusses the environmental aspects of using biogas as a safe source for the environment. From an economic point of view, the large-scale implementation of the biogas industry was achieved by highly developed countries, such as Germany and the United Kingdom. Unfortunately, this technology is not available in all countries. The direction of biogas production is considered very promising and over time a significant increase in biogas plants is expected.
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ROUT, SANJAY KUMAR, and HRUSHIKESH MALLICK. "INTERNATIONAL MACROECONOMIC ACTIVITY AND ITS INTERACTION: EVIDENCE FROM US, JAPAN, GERMANY, CHINA, INDIA AND RUSSIA." Global Economy Journal 20, no. 02 (June 2020): 2050008. http://dx.doi.org/10.1142/s2194565920500086.
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Using the Diebold and Yilmaz (2012) spillover method, this study attempts to evaluate the strength and direction of cross-country interactions of macroeconomic activity across US, Japan, Germany, China, India and Russia. Apart from a base model, it frames two alternative models; one is based on principal component analysis (PCA) incorporating important macroeconomic variables from each country and another model is based on industrial production index; both evaluate the robustness of our empirical findings. It finds that 62% of variations in growth rates of all six countries are due to their mutual interdependence among them and it also reflects that the emerging economies like China and Russia take the lead in influencing foreign economic activities. It suggests that the concrete policy action is required to diversify the international market interdependency of a domestic economy as it may jeopardise the macroeconomic stability when uncertainty is generated in foreign economies. The empirical analysis is found to be robust.
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Filippov, Vasily D. "Arts & crafts in architecture." Urban construction and architecture 11, no. 4 (December 15, 2021): 113–24. http://dx.doi.org/10.17673/vestnik.2021.04.14.
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In the middle of the 19th century, the Arts and Crafts movement emerged in England. The development of the movement in England, USA, Germany is described. The influence of the ideas of the novel News from Nowhere by William Morris on the emergence of the idea of a garden city by Ebenezer Howard and on the preservation of the historical heritage of cities is shown. Describes the influence of Peter White on the emergence of Arts and Crafts in the United States, on the formation of the Chicago School, as well as the worlds first manifestation of modern in the architecture of Louis Sullivan. Shows the influence of Gustav Stickley on the birth of the American folk style of a residential building and his contribution to the modernism of Irving John Gill. The features of the Arts and Crafts in Germany are described, the role of Hermann Mutesius in the evolution of the movement from rejection of industrial production to unification with it and the establishment of the German Werkbund is emphasized. The influence of Mutesius ideas on the German art of the 1920s is shown. A description of the aesthetic direction of the movement, which received the name modern, is given and examples of it in Belgium, Germany, Austria, Scotland are given. The importance of movement as the basis for the birth of modern architecture is emphasized.
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Suprun, Natalia. "Resources and mechanisms of the post-war reconstruction of West Germany (1945–1962)." Ìstorìâ narodnogo gospodarstva ta ekonomìčnoï dumki Ukraïni 2022, no. 55 (December 10, 2022): 39–62. http://dx.doi.org/10.15407/ingedu2022.55.039.
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The article is devoted to the definition of the most effective resources and mechanisms of the post-war reconstruction of Germany (1945–1962). The study was carried out on the basis of a comparison of the effectiveness and role of the management measures of the occupation authorities, the mechanisms of the Marshall Plan and the economic reforms of the German government in the restoration and further economic rise of Germany. This question is considered in the context of the study of the mutual influence of antagonistic economic doctrines (planning-directive and neoliberal) and a comparative analysis of the doctrinal approaches of the occupation authorities and the national government, which determined the configuration of their interaction and the leading mechanisms of post-war reconstruction in Germany. The article shows that despite large-scale American financial and organizational assistance within the Marshall Plan, the framework conditions for successful transformations were laid by the effective policy of the German government, which was directed at ensuring national interests and realizing the competitive advantages of national production. It was determined that the institutional basis of the economic reforms of the German government of K. Adenauer was the liberalization of the economy and the development of the model of the social market economy, the initiator of the implementation of which was the Minister of National Economy, and later the Chancellor of the Federal Republic of Germany L. Erhard. One of the basic components of economic liberalization reforms was the large-scale deregulation of business, which provided for the removal of most blocking regulations and the creation of stimulating norms for the development of private entrepreneurship, in particular, the liberalization of tax and credit instruments. The strategic direction of the government's reform policy was determined to be the modernization of the national economy, which included support for the development of strategically important industries and renewal of industrial production. The effectiveness of economic reforms was ensured by a clearly defined vision of building a national model of the social market economy, doctrinal stability and political consistency of the government's course.
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Khibadullina, A. S. "Art journalism: film art in the socio-cultural paradigm." Bulletin of L.N. Gumilyov Eurasian National University. JOURNALISM Series 142, no. 1 (2023): 112–20. http://dx.doi.org/10.32523/2616-7174-2023-142-1-112-120.
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The article talks about one of the new directions in the development of modern journalism - art journalism, as well as about the place and development of "film journalism" in providing information within this direction, cinema. Today's film production is available not only in cinemas, but also on TV, tablets and the Internet. Therefore, it is important to take into account the development of modern film production and different methods of studying the film genre, as well as the function of cinema art in the socio-cultural space. The influence of modern technologies on film production is recognized as an urgent issue. In society in general, no one can limit a person's inner spiritual need and taste. As demand grows, the requirements and tasks for teleworking grow. Television equipment is also being developed taking into account the requirements. Since it is impossible to separate the history of television from cinematography, there is a need to consider film journalism from a theoretical and practical point of view. Therefore, it is necessary to know the theoretical foundations of working with information in the development of art journalism as one of the directions of industry journalism, the development of cinematography. It is known that speech in cinema and on television forms the culture of speech in society, so it is important from a practical point of view to pay attention to the use of the possibilities of cinema, theater and new media and consider the way of a comprehensive study of screen culture
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Hager, Carol. "Germany's Green Energy Revolution: Challenging the Theory and Practice of Institutional Change." German Politics and Society 33, no. 3 (September 1, 2015): 1–27. http://dx.doi.org/10.3167/gps.2015.330301.
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The energy revolution poses a fundamental challenge to the German corporatist institutional model. The push for renewables in Germany arose almost entirely outside the prevailing channels of institutional power. Eventually, federal legislation helped support the boom in local energy production that was already underway, and it encouraged the further development of new forms of community investment and citizen participation in energy supply. Recently, the federal government has tried to put the genie back in the bottle by shifting support to large energy producers. But, as this article shows, the energy transition has provided a base for local power that cannot easily be assailed. The debate over German energy policy is becoming a contest between centralized and decentralized models of political and economic power. Prevailing institutionalist theories have difficulty accounting for these developments. I analyze the local development of renewable energy by means of a case study of the Freiburg area in southwestern Germany, which has evolved from a planned nuclear power and fossil fuel center to Germany's “solar region”. Incorporating insights from ecological modernization theory, I show how the locally based push for renewables has grown into a challenge to the direction of German democracy itself.
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ШПАТАКОВА, Оксана, Микола ЖУРАВЕЛЬ, and Назар СЛОБОДЯН. "ECOLOGICAL ENERGY AS A STRATEGIC DIRECTION FOR ENSURING ENERGY SECURITY." Herald of Khmelnytskyi National University. Economic sciences 328, no. 2 (April 25, 2024): 425–33. http://dx.doi.org/10.31891/2307-5740-2024-328-63.
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The problem of ensuring energy security remains one of the most pressing tasks for modern states. In the context of rapid growth in energy consumption and limited traditional energy resources, the development of environmental energy is acquiring strategic importance. The main challenges in this area include high initial investment, the need for infrastructure development and technological limitations. At the same time, green energy makes it possible to reduce dependence on imported energy resources, reduce the negative impact on the environment and create new jobs. It is also important to consider the social and economic aspects of green energy integration, such as public support and attracting investment. International experience shows that successful integration of renewable energy sources is possible with an integrated approach that includes government support, international cooperation and innovation. To ensure energy security, it is necessary to develop and implement strategic directions that promote the development of environmental energy and its integration into national energy systems. The article is aimed at studying the current state of environmental energy, identifying key factors and barriers, as well as developing recommendations for public policy and attracting investment in this area. The use of an integrated approach and international experience will significantly increase the level of energy security and sustainability of energy systems. Analysis of recent studies and publications shows that technological innovation plays a key role in expanding the use of renewable energy sources. For example, Jacobson M. Z. et al propose roadmaps for 139 countries to transition to 100% renewable energy, Owens B. describes technology roadmaps for solar photovoltaic energy, and Pfenninger S. et al highlight the importance of open data and software. In addition, the successful experience of countries such as Germany, China and Denmark demonstrates the importance of public-private partnerships, as well as international cooperation in the development of green energy. An analysis of the current state of environmental energy shows that the share of renewable energy sources in global electricity production is constantly increasing. The main growth drivers are falling technology costs, government support and awareness of climate change. Leading countries such as Germany, China and the USA are actively investing in the development of solar and wind energy, which helps reduce dependence on traditional energy resources and improve the environmental situation. In conclusion, green energy plays an important role in energy security, providing both economic and environmental benefits. Despite existing challenges, the development and integration of renewable energy sources is a strategic direction to help reduce dependence on traditional energy sources and ensure a sustainable energy future.
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Сологян, А. А., and В. Г. Касарова. "Advanced aspirations of the Russian intelligentsia on the eve of the 1905 revolution." Historical bulletin 7, no. 3 (May 6, 2024): 15–21. http://dx.doi.org/10.58224/2658-5685-2024-7-3-15-21.
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данная статья посвящена исследованию процесса зарождения и становления Московского Художественного Театра – первого, общедоступного, разумного, нравственного, с высокой просветительской миссией. История государства Российского, накануне первой русской революции 1905 года, предстаёт как единый процесс, в котором, наряду с социальными, экономическими, политическими преобразованиями, просматриваются вопросы связанные с развитием культуры Российской Империи данного периода. В работе анализируется участие театрально-прогрессивной интеллигенции на фоне внутренних проблем страны в конце XlX – начала XX века. Особое внимание сконцентрировано на постановке исторической пьесы А.К. Толстого "Царь Фёдор Иоаннович". В условиях реакционной политики царизма театр становится единственным средством общения передовой мыслящей интеллигенции и народных масс. В постреформенный период, в начале XX века начинают доминировать исконно российская драматургия и литература. Вся напряжённая идейно-политическая, нравственная, идеологическая борьба театральной интеллигенции освещается в объективных исторических позициях в преддверии величайшего революционного переворота. В конце XIX начала XX создаются театры различных художественных направлений, но именно Московский Художественный становится творческим организмом и определяет вектор направления искусства в Российской Империи. this article is devoted to the study of the process of origin and formation of the Moscow Art Theater – the first, publicly accessible, reasonable, moral, with a high educational mission. The history of the Russian state, on the eve of the first Russian revolution of 1905, appears as a single process in which, along with social, economic, and political transformations, issues related to the development of the culture of the Russian Empire of this period are visible. The work analyzes the participation of the theatrical-progressive intelligentsia against the backdrop of the country's internal problems at the end of the 19th century and the beginning of the 20th century. Particular attention is focused on the production of the historical play by A.K. Tolstoy "Tsar Fyodor Ioannovich". Under the conditions of the reactionary policies of tsarism, theater becomes the only means of communication between the advanced thinking intelligentsia and the masses. In the post-reform period, at the beginning of the 20th century, native Russian drama and literature began to dominate. All the intense ideological, political, moral, ideological struggle of the theatrical intelligentsia is illuminated in objective historical positions on the eve of the greatest revolutionary coup. At the end of the 19th and beginning of the 20th, theaters of various artistic directions were created, but it was the Moscow Art Theater that became a creative organism and determined the vector of the direction of art in the Russian Empire.
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Simeiko, K. V., S. V. Kupriianchuk, and A. O. Syniahovskyi. "Technologies and Promising Developments of Graphite Production (Overview)." Nuclear Power and the Environment 26, no. 1 (2023): 9–23. http://dx.doi.org/10.31717/2311-8253.23.1.2.
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The article is devoted to a review of industrial technologies, promising developments, and research in obtaining graphite, particularly nuclear purity. Due to its unique properties, graphite has become an integral part of products used in nuclear energy, power equipment, mechanical engineering, metallurgy, and other industries. Graphite as a constructional and functional material is applied in high-temperature reactors: AVR (Germany), HTGR-1 (USA), improved gas-cooled reactor AGR (England), and in uranium-graphite high-power channeltype reactor (RBMK) (USSR, Russian Federation, Lithuania). At present time, graphite is a constructive and functional material in nuclear power systems of the IV generation, especially in high-temperature gascooled systems (HTGR, HTR, HTGR, VHTR) and liquid salt reactors (MSR). Due to the development of nuclear power systems of the IV generation and the increase in the popularity of electric transport, there is a dynamic increase in the consumption of graphite, therefore the issue of developing and improving technologies for the production of high-purity graphite (including nuclear) are of great practical importance. The aim of the article was to determine the most promising options for producing graphite, especially for using this material in generation IV nuclear power systems in future. Chemical industrial methods of cleaning natural graphite represent an environmental hazard due to the use of toxic precursors, which makes them prohibited in some countries. The main thermal industrial method of obtaining artificial graphite is the heating of coke or anthracite in special electric furnaces at a temperature of about 3000 °C and high pressure without air access. However, this method has several disadvantages, including high energy and resource costs. Among the considered developments and research in the direction of creating technologies for obtaining high-purity graphite, the biggest problem for thermal methods is the complexity of the hardware design and the low yield of the finished product, and for chemical methods (as well as industrial chemical methods) there is an environmental hazard due to the use of toxic substances. One of the promising possibilities is the high-temperature purification of graphite (including nuclear purity) in devices with an electrothermal fluidized bed. However, due to insufficient research in this direction, the technology has not yet gained industrial implementation. Considering the described factors, developing graphite purification technology in electrothermal fluidized bed reactors is an urgent scientific task.
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Peichl, Michael, Stephan Thober, Volker Meyer, and Luis Samaniego. "The effect of soil moisture anomalies on maize yield in Germany." Natural Hazards and Earth System Sciences 18, no. 3 (March 20, 2018): 889–906. http://dx.doi.org/10.5194/nhess-18-889-2018.
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Abstract. Crop models routinely use meteorological variations to estimate crop yield. Soil moisture, however, is the primary source of water for plant growth. The aim of this study is to investigate the intraseasonal predictability of soil moisture to estimate silage maize yield in Germany. We also evaluate how approaches considering soil moisture perform compare to those using only meteorological variables. Silage maize is one of the most widely cultivated crops in Germany because it is used as a main biomass supplier for energy production in the course of the German Energiewende (energy transition). Reduced form fixed effect panel models are employed to investigate the relationships in this study. These models are estimated for each month of the growing season to gain insights into the time-varying effects of soil moisture and meteorological variables. Temperature, precipitation, and potential evapotranspiration are used as meteorological variables. Soil moisture is transformed into anomalies which provide a measure for the interannual variation within each month. The main result of this study is that soil moisture anomalies have predictive skills which vary in magnitude and direction depending on the month. For instance, dry soil moisture anomalies in August and September reduce silage maize yield more than 10 %, other factors being equal. In contrast, dry anomalies in May increase crop yield up to 7 % because absolute soil water content is higher in May compared to August due to its seasonality. With respect to the meteorological terms, models using both temperature and precipitation have higher predictability than models using only one meteorological variable. Also, models employing only temperature exhibit elevated effects.
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Ladyka, V. I., Y. I. Sklyarenko, Y. M. Pavlenko, and O. V. Sherbak. "ANALYSIS OF CRYOСONSERVED SPERM OF SIRES OF THE LEBEDINIAN BREED AND ORIGINAL BROWN CATTLE OF GERMANY." Animal Breeding and Genetics 58 (November 29, 2019): 95–101. http://dx.doi.org/10.31073/abg.58.13.
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In recent years, in Ukraine, as well as around the world, some local breeds have been on the verge of extinction, resulting in irretrievable loss of valuable genes, reduction of genetic diversity. In order to avoid these problems, it is necessary to work on the conservation of animal genetic resources. The creation of banks for long-term storage of biological material is one of the methods of preserving the gene pool of local, small and indigenous breeds of animals.
Sperm quality is one of the main factors that determines the success of insemination of heifers and cows. Comprehensive analysis of sperm includes a large number of qualitative and quantitative indicators, the accuracy of which is influenced by a number of objective and subjective factors.
Currently, microscopic analysis of sperm motility and survival is used in production conditions. Such approaches are easy to implement, but their results can be subjective. Research using a computer-based sperm fertility analysis system is becoming a priority today. With the help of CASA-Sperm Vision it is possible to carry out a morphological analysis already during the study of sperm motility.
The purpose of our research was to analyze the quality of deep-frozen sperm of sires of Lebedinian breed and original brown cattle of Germany in order to attract such genetic material in the conservation of local Lebedinian breed cattle.
Materials and methods. In the study used cryopreserved sperm doses of five sires of Lebedinian breed and three sires of the original brown cattle of Germany.
Researches of qualitative, quantitative and dynamic characteristics of sperm of bulls were carried out at the laboratory of biotechnology of reproduction of Institute of Animal Breeding and Genetics nd. a. M.V.Zubets of NAAS and production laboratory "Ukrainian genetic company" using computer analysis of sperm motility Sperm Analysis System Version 12 IVOS.
It was determined that the average dose of cryopreserved sperm of bulls of the Lebedinian breed was 0.25 ml, and of the sires of the original brown cattle of Germany -0.21 ml. It was found that the sires of the original brown cattle of Germany had the best indicators of total sperm motility by 21.7% compared to the sires of the Lebedinian breed (55.7%). They also noted a greater number of sperm with straight-forward movement of 16.5%. (40.2% of the Lebedinian breed sires).
The average concentration of sperm in one milliliter was 10.5 times higher in animals of the Lebedinian breed (compared to the sires of the original brown cattle of Germany (331 million/ml).
Comparing the indicators of the average speed of the sperm on the average trajectory (VAP), it should be noted that the minimum value was 85.3 microns/sec, the maximum value for this indicator – 141.7 microns/sec. The results of the VSL study showed that the average value of this indicator of sperm in the studied sperm doses of sires of the Lebedinian breed was 102 microns/sec, of the original brown cattle of Germany – 75.
Obtained opposite to the direction coefficients of the correlation depending on the origin, between total sperm motility and average sperm speed for the average trajectory, the average speed of the sperm on the real trajectory, the average deviation of the sperm, the degree of straightness of the directed movement of sperm.
Summary.
1. The complex of researches provided an objective analysis of qualitative and quantitative indicators of cryopreserved sperm production of the bulls of original brown cattle of Germany and the Lebedinian breed. It was found that the quality of the studied sperm doses met the requirements of "Instructions for Artificial Insemination of Cows and Heifers" (Order of the Ministry of Agrarian Policy of Ukraine dated August 1, 2001 № 230).
2. The comparative analysis of sperm production of the original brown cattle of Germany and the Lebedinian breed for its long-term storage was carried out. It is established that the sperm of sires of the original brown cattle of Germany exhibit higher dynamic characteristics of movement, while the sperm of sires of the Lebedinian breed were inferior to them in these indicators.
3. The possibility of insemination of females with cryopreserved sperm of the studied bulls whose sperm production has been stored for more than 30 years has been proved.
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Gylka, K., Ho Jin Han, and A. Gribincha. "Forthcoming Economic Changes on the World Market under the Influence of 4.0 and the Following Revolutions." Scientific Research and Development. Economics of the Firm 9, no. 1 (April 14, 2020): 85–91. http://dx.doi.org/10.12737/2306-627x-2020-85-91.
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The leading countries have taken the direction of the vector towards digitalization. In the CIS countries, this direction means “digital economy”, but in other countries, it is Industry 4.0 (Germany), in the USA — Industrial Internet Consortium. In fact, this is one and the same process — the translation of the economy into a digital mode, technology, an algorithm for expressing phenomena and actions, goods and services, thoughts, artificial intelligence, etc. Other countries went further by announcing the development of strategy 5.0 (Japan) or 6.0 (China). Many countries do not have rich natural resources, so they completely depend on the quality of education of the new generation, and it needs to be prepared for revolutionary changes. Therefore, the emphasis is on children — this is our future — the theme is as relevant as ever. Humanity is subject to a number of shocks. They are reducing the number of employees, aging populations, declining global competitiveness of production, the need to upgrade infrastructure, environmental problems, lack of natural resources, issues of tackling natural disasters and countering terrorism. There was a necessity to create a universal concept that would go beyond sectoral problems and respond primarily to social needs and needs.
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KREUZER, GUNDULA. "Voices from beyond: Verdi's Don Carlos and the modern stage." Cambridge Opera Journal 18, no. 2 (July 2006): 151–79. http://dx.doi.org/10.1017/s0954586706002151.
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It has often been suggested that a renewed fascination with Verdi’s Don Carlos coincided with the advent of Regieoper (or radically revisionist staging) in Germany over the past few decades. However, Don Carlos already counted among the most frequently revived operas in German-language theatres during the first half of the twentieth century. This article argues that neglect of this rich performance tradition is linked both to a German-centred narrative of the history of operatic production, which constructs the 1930s and 1940s as a gap in the development of ‘avant-garde’ direction, and to an over-emphasis on the visual side in recent academic discourse on operatic staging. These attitudes are challenged by a close look at selected German productions of Don Carlos from the 1920s to 1940s. Treatment of the opera's most difficult scenes – the mystical elements of the auto-da-fé finale and the dénouement – reveals striking continuities between the Weimar and Nazi eras, as well as conceptual affinities to some of the most acclaimed recent stagings. These findings call for a more historically grounded approach to operatic production.