Relevant bibliographies by topics / Theater St

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theater St'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Theater St"

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LIZUNOV, PAVEL. "POSTCARD PORTRAIT: LIFE AND FATE ARTISTS OF THE IMPERIAL MARIINSKY BALLET THEATER LYDIA MUROMSKAYA (CHUPYATOVA)." History and Modern Perspectives 4, no. 4 (December 28, 2022): 113–21. http://dx.doi.org/10.33693/2658-4654-2022-4-4-113-121.

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The article is dedicated to the ballet dancer L.N. Muromskaya (Chupyatova). After completing the course of the ballet department of the St. Petersburg Theater School in 1906, she was accepted into the ballet troupe of the corps de ballet of the Imperial Mariinsky Theater. She danced with such «stars» of Russian ballet as M.F. Kshesinskaya, A.P. Pavlova, T.P. Karsavina, A.Ya. Vaganova, V.F. Nezhinsky and others. In 1912, Muromskaya became the first dancer of the Mariinsky Theatre. There was only one step left before the title of ballerina, i.e., obtaining the highest rank in the hierarchy of Russian ballet theaters. She did not manage to go through this last segment of her creative path for many reasons. In 1920, at the age of 32, she committed suicide.
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Magidovich, Marina Leоnidovna. "The Potential of Ballet Performances in the Development of Situational Cultural Tourism, Based on the Study of the Audience of the St. Petersburg state Academic Boris Eifman Ballet Theater in St. Petersburg." Теория и практика общественного развития, no. 11 (November 6, 2020): 20–26. http://dx.doi.org/10.24158/tipor.2020.11.2.

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The paper presents data on the results of the re-search on the potential of performances of the St. Petersburg state Academic Boris Eifman ballet thea-ter (Boris Eifman Theater) as a tourist destination, using the example of studying the cultural prefer-ences and practices of visitors to this theater. The main data on the theater audience was obtained during a visit to the performances of the Boris Eif-man Theater in St. Petersburg, in March – April 2019. We can note the significant specifics of the audience of a particular theater, which is due to both the crea-tive method of the theater's artistic Director B. E. Eifman, and the organization of the theater's theatri-cal, stage and tour process. The identified character-istics of the theater audience, as well as the study of the tourist market of St. Petersburg, allowed us to conclude that it is possible to develop a certain segment of situational cultural tourism in St. Peters-burg, both for domestic and outbound tourism.
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Gordeev, Petr N. "Ivan Vasilyevich Ekskuzovich — Architect and Theater Figure." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 34–59. http://dx.doi.org/10.21638/spbu15.2024.103.

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For the first time the article gives a biographical study of the major theatrical figure and St Petersburg architect I. V. Ekskuzovich. Having graduated from the Institute of Civil Engineers in his youth, he has built several buildings in the capital of the Russian Empire, but his lifework was the management of academic theaters in Leningrad and Moscow. In this article there was first established the existence of the “Ekskuzovich coterie” in 1917, which also included V. E. Meyerhold, conductor N. A. Malko and a certain number of the artists of the Mariinsky Theatre; the role of the coterie in the nomination of Ekskuzovich to the post of the head of the theater department at the end of 1917. The article summarizes the extensive material related to his administrative activities in theaters: the role of Ekskuzovich in the creation of the association of academic theaters, his official and personal correspondence with artists and the People’s Commissar of Education A. V. Lunacharsky. Based on the reviews of memoirists, private correspondence of artists and a number of anniversary addresses, a conclusion is made about the significant popularity of Ekskuzovich in the artistic environment. It is emphasized that the resignation of Ekskuzovich in 1928 took place against the will of Lunacharsky, who lost by the end of the 1920s his real power in the People’s Commissariat for Education. The activity of Ekskuzovich as a theorist and practitioner in mechanization of the theater stage, as well as one of the leading engineers in the park management of Leningrad in the 1930s, is also traced. The monograph “The Theater Stage in the Past and Present” published by him in 1930, Ekskuzovich’s work on the continuation of this research, as well as his work on equipping the stages of Soviet theaters, including the work on the theatrical part of the Palace of Soviets, are considered. The article is based mainly on archival data; materials used 13 archives and manuscript departments of museums and libraries.
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Karelina, Yekaterina. "Tuvan Composer Ayana Oyun (Creative Portrait)." International peer-reviewed journal 11, no. 4 (December 1, 2023): 68–77. http://dx.doi.org/10.59850/saryn.4.11.2023.30.

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Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of creativity works correlates with her education in different universities in Russia and with a change in genre preferences. Thus, during the years of study at Krasnoyarsk Academy of Music and Theater (2001–2007), works of chamber genres were predominated, including the being analyzed Piano Quintet. The return to her native Tyva is marked by the formation of an original author’s style. During these years, interest in theatrical music was shown, and a number of performances with music by Ayana Oyun were staged. During the years of study in St. Petersburg (2013–2018), several musical fairy tales were created and staged: Don’t Fly Away!, Mary Poppins and Her Friends, Khorloo (Wheel). Music appeared for a number of performances at the National Theatre as well. The composer’s contribution to the development of musical theater in Tuva and the revival of the first national opera, Chechen and Belekmaa, by Rostislav Kendenbil are noted. Ayana Oyun is a rare case of a successful combination of a composer and a theater director in one person; her personality is distinguished by deep reverence and adherence to the traditions and practices of Buddhist teaching, striving for constant self-improvement, expansion of professional and spiritual horizons.
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Mächler, Martin. "Ein Quantensprung." Bühnentechnische Rundschau 117, no. 6 (2023): 54–57. http://dx.doi.org/10.5771/0007-3091-2023-6-054.

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Nach dreijähriger Sanierung und Erweiterung wurde das Stammhaus des Theaters St. Gallen am 22. Oktober 2023 wieder eröffnet. Unser Autor durfte schon Mitte September einen Blick hinter die Kulissen werfen, um das auch technisch rundum erneuerte Theater zu erkunden. Für Vorfreude sorgte da schon neben besseren Arbeitsbedingungen für viele Gewerke und mehr Platz für Tanz- und Chorproben auch die neue Audio-, Video-, Kommunikations- und Beleuchtungsinfrastruktur. Von Martin Mächler
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Vinogradova, A. S. "The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari." Art & Culture Studies, no. 3 (October 2021): 306–33. http://dx.doi.org/10.51678/2226-0072-2021-3-306-333.

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This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own man” behind the scenes of the theaters of both capitals. He was a friend of Pyotr Ilyich’s friends: N.G. Rubinstein, G.A. Laroche; patronized talented actresses who played prominent roles in the destinies of M.I. Tchaikovsky (M.G. Savina) and A.I. Tchaikovsky (A.Ya. Glama-Meshcherskaya). K.N. De-Lazari left several memoir texts; their exact number and significance for the biography of P.I. Tchaikovsky has not yet received a scientific assessment. These texts and their interpretation will help to expand our understanding of the composer’s circle of friends and the synthetism of perception of musical and dramatic theater, characteristic of P.I. Tchaikovsky, his natural artistry, in a broad sense.
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Domanskii, Yuri V. "DIARY OF A THEATER MAN. Book review: Smirnov-Nesvitsky Yu. A. Diaries / publ. and comment. D. D. Kumukova / Russian Institute of Art History. St. Petersburg, 2022. 204 pp., 20 l. ill." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 92–94. http://dx.doi.org/10.47475/1999-5407-2024-66-1-92-94.

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The review examines the diaries of the historian and theorist of theater and drama, playwright, director, founder and longterm director of the St. Petersburg theater “Subbota” Yuri Aleksandrovich Smirnov-Nesvitsky, published in 2022.
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Savell, Shelia C., Allyson A. Arana, Kimberly L. Medellin, Vikhyat S. Bebarta, Crystal A. Perez, Lauren K. Reeves, Alejandra G. Mora, and Joseph K. Maddry. "Descriptive Analysis of Cardiac Patients Transported by Critical Care Air Transport Teams." Military Medicine 184, no. 7-8 (February 27, 2019): e288-e295. http://dx.doi.org/10.1093/milmed/usy426.

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Abstract Introduction Critical Care Air Transport Teams (CCATTs) transport critically ill patients within and out of theaters of combat operations. Studies of the CCATT population reveal as many as 35% of patients have a non-trauma diagnosis, of which more than half are cardiac. The purpose of this retrospective study was to describe the epidemiology of critically ill patients with cardiac diagnoses evacuated from theater via CCATT. Materials and Methods We conducted a retrospective review of 290 medical patients with a primary cardiac diagnosis transported from any theater of operation to Landstuhl Regional Medical Center, Germany from January 2007 to April 2015. Results The majority of patients were male with an average age of 46 ± 11 years, US contractors (47%, n = 137), followed by US Active Duty (32%, n = 93). Patients had an average BMI of 29 ± 5; 62% of cardiac patients were either overweight or obese. The most common cardiac diagnoses were ST elevation myocardial infarction, Non-ST elevation myocardial infarction, and angina. Pre-flight vital signs indicate overall patients were stable prior to evacuation, with the majority receiving supplemental oxygen and only 5% requiring mechanical ventilation. Eighty-one percent of patients experienced at least one cardiac event during flight, however less than 5% required adjustment to oxygen or ventilator settings. Conclusions Critically ill cardiac patients make up a significant portion of patients transported out of the combat theater. These patients are older, overweight and have identified risk factors for cardiac morbidity. More strenuous pre-deployment screening for risk factors and prevention strategies could minimize the use of military resources to evacuate these patients from the combat theater.
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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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Gorodnicheva, Marina A. "GENRE OF THEATRICAL REVIEW IN THE WORK OF N. V. GOGOL." Sign problematic field in mediaeducation 49, no. 3 (November 30, 2023): 68–75. http://dx.doi.org/10.47475/2070-0695-2023-49-3-68-75.

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The purpose of the article is to consider the ideological, thematic and genre features of the theater review in the works of Nikolay V. Gogol, as well as to identify the writer’s views on the development of the theater in the mid-1830s. Based on the analysis of the texts «Petersburg Notes for 1836» and «The Petersburg stage in 1835/36», the patterns of development of the Gogol’s aesthetic concept are determined. The writer perceives the theater as the center of the cultural life of St. Petersburg society, sees in theatrical art a huge potential for moral improvement and social transformation.In the discussions about the repertoire of the St. Petersburg stage, the ideas of the sacralization of art and the poet’s mission are manifested. N. Gogol attaches special importance to the genre of comedy – «spiritual», based on intellectual humor and satire.Gogol’s theatrical review is distinguished by such features as mosaic composition, essayization. Genre synthesis (review, writer’s notes, essays, etc.) and the widespread use of artistic visual and expressive means are noted as the most important features of Gogol’s criticism and journalistic works.The research contributes to the study of theater journalism and Gogol’s activities as a theater critic.
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Dissertations / Theses on the topic "Theater St"

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Gubkina, Natalia. "Deutsches Musiktheater in St. Petersburg am Anfang des 19. Jahrhunderts: Deutsches Musiktheater in St. Petersburg am Anfang des19. Jahrhunderts." Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 95-116, 1999. https://ul.qucosa.de/id/qucosa%3A15512.

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In den letzten Jahren hat die russische Musikwissenschaft die internationalen Ursprünge der russischen Musikkultur erneut zum Gegenstand ihres Interesses gemacht. Das betrifft insbesondere St. Petersburg, die \"europäischste\" Stadt Rußlands, die seit ihrer Gründung 1703 ausländische Mentalitäten gleichsam in sich aufsog.
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Gubkina, Natalia. "Deutsches Musiktheater in St. Petersburg am Anfang des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222219.

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In den letzten Jahren hat die russische Musikwissenschaft die internationalen Ursprünge der russischen Musikkultur erneut zum Gegenstand ihres Interesses gemacht. Das betrifft insbesondere St. Petersburg, die \"europäischste\" Stadt Rußlands, die seit ihrer Gründung 1703 ausländische Mentalitäten gleichsam in sich aufsog.
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Trauth, Jonathan N. "An Evaluation of the St. Leo Burundi Refugee Ministry Program." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468512316.

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Scheusner, Geoffrey Herther. "The Trumpet and Cornet Works of Emile Joseph Trognee (1868-1942): Musical and Pedagogical Contributions." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194658.

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Emile Joseph Trognee's career took place not only during a time unsurpassed with regards to the musical and constructional developments of the trumpet, but also in the highly important and evolving musical environment of Imperial and Soviet Russia. As a result of an investigation of their inherent musical qualities, this document will establish how Emile Trognee's works are representative of European trumpet and cornet pedagogical and musical trends of the early 20th century. Through formal, thematic and harmonic analysis of these works, the key pedagogical and stylistic features are identified and discussed as consistent or unique to those of the period. Preceding that analysis and critical to an understanding of the contextual relevance of this material is a summation of the important 19th and early 20th century musical developments that influenced the instruction and use of the trumpet and cornet in Russia and Europe. It is hoped that modern study of the challenging works of that period will benefit from a better understanding of the performance and educational practices of those who were present at their inception or particularly adept in their performance.
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Anderson, Kathryn Elizabeth. "“These Were the Things That Bounded Me”: A New Examination of Millay’s Dramatic Works." Case Western Reserve University School of Graduate Studies / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=case1207239609.

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Frame, Murray. "The St. Petersburg Imperial Theatres, 1900-1920 : culture and power during the Russian Revolution." Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/272509.

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Moat, Neil. "A theatre for the soul : St. George's Church, Jesmond : the building and cultural reception of a late-Victorian church." Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1345.

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St. George's church (Osborne Road), Jesmond, Newcastle-upon-Tyne (1885-1891), is a Grade-I listed building, notable for its ambitious scale, unity of conception, and the quality and elaboration of its interior decoration. Commissioned and furnished in its entirety by the influential Tyneside ship-builder Charles Mitchell (1820-1895), a senior partner in the powerful armaments and engineering conglomerate of Sir W.G. Armstrong, Mitchell & Co., St. George's was the magnum opus of the little-known architect and artist-craftsman Thomas Ralph Spence (1845-1918). Although recognised from the first as a significant artistic achievement, and despite Sir Nikolaus Pevsner's high estimation of the church – 'Very restrained in the details… expensive and tasteful decoration, very progressive in style for its date… Arts and Crafts approaching Art Nouveau' – Spence's masterpiece has not to date received anything like an extended analysis. The present study aims to re-evaluate the significance of the church, primarily in the light of recent readings in late-Victorian ecclesiology and the cultural context of North-East England. The study also collates and analyses for the first time much of the extensive archival material – including important documentation previously unavailable – correlating this with a close reading of the built fabric and with reference to local artisanal and industrial practice. St. George's offered a fresh paradigm for Anglican church-building in the North-East of England, embodying the hopes of a newly established diocese, in one of the fastest growing industrial conurbations of late-nineteenth century Britain. It was, appropriately, the first large-scale demonstration of the aims of the newly founded Art Worker's Guild, and of the latest ideas stemming from 'new art' designers on the Continent. More so than their 'display' houses, Mitchell's church signalled the cosmopolitan interests yet fiercely regional pride of Armstrong's men, one of the most significant (and controversial) groupings of late-Victorian industrialists.
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Israel, Isabela Pinheiro. "A peregrinação ocidental no teatro de Afonso Álvares (XVI) e Xavier Lama (século XX)." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3252.

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Esta dissertação tem por objetivo mostrar como o mito de São Tiago Maior e a peregrinação religiosa na Idade Média são retratados na dramaturgia portuguesa e galega. Para isso, reporta-se a duas obras: Auto de Santiago de Afonso Álvares (Portugal - séc. XVI) e O Peregrino errante que cansou ó demo de Xavier Lama (Galícia séc. XX). Objetiva verificar como os discursos das personagens, associados aos demais elementos que estruturam as obras, têm por finalidade acentuar a importância, no contexto da religiosidade ibérica, do culto à Virgem de Guadalupe e de São Tiago em sua tríplice representação: São Tiago Apóstolo, Peregrino ou Mata-mouros. E, sobretudo, demonstrar o caráter doutrinador e moralizante das peças, principalmente na recomendação das virtudes a serem seguidas e dos pecados a serem evitados pelo cristão em sua peregrinação existencial, objetivando a ascenção espiritual
This dissertation aims to show how the myth of Saint James and religion pilgrimage in the Middle Ages are portrayed in the dramaturgy Portuguese and Galician. For this, referrers to two works: Auto de Santiago from Afonso Álvares (Portugal century XVI) and O Peregrino errante que cansou ó demo from Xavier Lama (Galicia century XX). Aims to verify how the speeches of the characters, combined with other elements making up the works, are intended to emphasize the importance in the context of Iberian religion, worship the Virgin of Guadalupe and St. James in his triple representation: St. James the Apostle, Pilgrim or kills moors. And above all, demonstrate the character of the counsellor and moralizing of the plays, especially the recommendation to follow the virtues and sins to be avoided by the Christian in his pilgrimage of existence, aiming at the spiritual ascent
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Sanogo, Ibrahima. "Une analyse compare des pieces de theatre de Jean Anouilh (L'Alouette), de George Bernard Shaw (St. Joan) et D'Andre Obey (La Fenetre)." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1999. http://digitalcommons.auctr.edu/dissertations/2204.

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This study compared and analyzed the premises of the three authors and their versions of the life of Joan of Arc. Their presentations enabled us to see the reasons of disparities among the authors' views. This study has shown that the philosophies of the three authors have different origins, differences which gave a unique slant to their individual interpretations. Their philosophical backgrounds were mainly obtained from diverse sources: published works, unpublished works, and personal interviews of my advisor with Andre Obey, one of the dramatists. We found in our research that the dramatists' theatrical works represented their own historical understanding of France's medieval heroine. They understood Joan of Arc's story in terms of their own existence and their own interpretations, which were different. The goal of this comparative study was reached through the juxtaposition of these differences. We concluded that each of the three authors had a unique experience. That uniqueness was articulated to rekindle the remarkable history of Joan of Arc. In 1750 J.-J. Rousseau advised that we should put a limit on theatrical art, because he said the theater perverts illusion. We used that advice as a yardstick to judge the three plays of the authors. That statement helped us to look at the work of these three playwrights as different chapters in the history of the life of Joan of Arc.
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Granadillo, S. Beatriz C. "Adaptive use of the Marshall theatre building at 4th St. and Houston Ave., Manhattan, Kansas." 1987. http://hdl.handle.net/2097/22313.

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Books on the topic "Theater St"

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I︠A︡mash, I︠U︡riĭ. Arkhitektura teatriv Lʹvova (kinet︠s︡ʹ XVIII st.--persha pol. XIX st.). Lʹviv: Lʹvivsʹkyĭ nat︠s︡ionalʹnyĭ universytet im. Ivana Franka, 2003.

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Andrist, Marilen. Das St. Pauli-Theater: 150 Jahre Volkstheater am Spielbudenplatz. Hamburg: Galgenberg, 1991.

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Budelmann, Claus G., and Thomas Collien. Broadway auf dem Kiez: 175 Jahre St. Pauli Theater. Hamburg: Ellert & Richter Verlag, 2016.

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Sulyma, M. M. Ukraïnsʹka dramaturhii︠a︡ XVII-XVIII st. 3rd ed. Kyïv: Vydavnychyĭ dim "Stylos", 2010.

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Pylypchuk, Rostyslav. Ukraïnsʹkyĭ profesionalʹnyĭ teatr v Halychyni (60-ti roky XIX st.). Kyïv: Vydavnyt︠s︡tvo "Krynyt︠s︡i︠a︡", 2015.

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von, May Glado, and Stadttheater St Gallen, eds. Stadttheater St. Gallen 1980 bis 1992. St. Gallen: Stadttheater St. Gallen, 1991.

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Pylypchuk, Rostyslav. Istorii︠a︡ ukraïnsʹkoho teatru: (vid vytokiv do kint︠s︡i︠a︡ XIX st.). Lʹviv: Lʹvivsʹkyĭ nat︠s︡ionalʹnyĭ universytet imeni Ivana Franka, 2019.

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Rémi, Tourangeau, and Duhaime Julien, eds. 125 ans de théâtre au Séminaire des Trois-Rivières. Trois-Rivières, Qué: Editions CEDOLEQ, 1985.

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Csizmadia, Éva. A Darabos utcától a St. Germain Avenue-ig: Kertész Sándor emlékére. Budapest: Kornétás Kiadó, 2014.

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Chechelʹ, Natalii︠a︡. Povertai︠u︡chy stylʹ: Filosofsʹko-antropolohichnyĭ dyskurs ukraïnsʹkoĭ vydovyshchnoï i dramatychnoï kulʹtury vid pochatkiv do XVIII st : monohrafii︠a︡. Kyïv: Parapan, 2004.

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Book chapters on the topic "Theater St"

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Dutton, Richard. "The St. Werburgh Street Theater, Dublin." In Localizing Caroline Drama, 129–55. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601611_6.

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Litvinenko, Ksenia. "Performing Universality: Building Norms and the Circulation of Theatre Architecture in the RSFSR." In St Antony's Series, 219–50. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54581-8_9.

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Ferris, Lesley. "Christopher St. John (1871–1960)." In The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism, 185–94. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003006923-29.

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Sutherland, Lucie. "The Legacy of Alexander at the St. James’s Theatre." In George Alexander and the Work of the Actor-Manager, 233–60. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40935-7_6.

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Leach, Robert. "Interlude: The boy companies of St Paul’s and the Chapel Royal." In An Illustrated History of British Theatre and Performance, 219–26. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-31.

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Margit, N. Edwards. "African Performance in the Feast of St. Francis Xavier in Seventeenth-Century Luanda, Angola." In The Routledge Companion to African American Theatre and Performance, 380–84. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-75.

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Pérez Díez, José A. "The ‘Playhouse’ at St Paul’s: What We Know of the Theatre in the Almonry." In Early Modern Literature in History, 197–220. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77267-3_9.

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Butterworth, Philip, and Peter Harrop. "Jean Fouquet's The Martyrdom of St Apollonia and The Rape of the Sabine Women as Iconographical Evidence of Medieval Theatre Practice." In Staging, Playing, Pyrotechnics and Magic: Conventions of Performance in Early English Theatre, 145–57. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003195740-10.

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Cutrer, Thomas W. "Destroy Property and Recruit Men." In Theater of a Separate War. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631561.003.0022.

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This chapter deals with Maj. Gen. Sterling Price’s 1864 raid into Missouri. Intent upon raising recruits and supplies from the pro-secession counties along the Missouri River, Price, after failing to capture St. Louis, moved upstream, destroying Union lines of communication and gathering food, horses, and men. He was decisively defeated at the battle of Westport, Kansas, the largest engagement in the trans-Mississippi, and withdrew his shattered army into Texas and Arkansas.
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O’connell, Michael. "Theater and the Devil’s Teats." In The Idolatrous Eye, 14–35. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195132052.003.0002.

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Abstract In 1583, seven years after the first public theater was built in London, Philip Stubbes colorfully declared that all stage plays are “sucked out of the Devills teates, to nourish us in ydolatry heathenrie and sinne.” A few months earlier Stephen Gosson, in his second attack on the stage, compared playgoing with the eating of meat sacrificed to idols, a practice against which St. Paul had cautioned the Corinthians. “If we be carefull that no pollution of idoles enter by the mouth into our bodies,” Gosson warned, “how dilligent, how circumspect, how wary ought we to be, that no corruption of idols, enter by the pas sage of our eyes & eares into the soule?” When, three decades later, Ben Jon son made his Puritan Zeal-of-the-Land Busy call the puppets of Bartholomew Fair a Dagon, “that idol, that heathenish idol . . . a beam in the eye, in the eye of the brethren . . . such as are your stage-players, rhymers, and morris dancers,” he reproduced the actual language of those who, finding theater religiously abhorrent, insisted on its idolatrous character. Again and again Elizabethan and Jacobean antitheatrical writers hurl the charge of idolatry against the stage. As late as 1633 William Prynne worried in Histrio-Mastix, his thousand-page attack on theater, that if stage plays had propagated idolatry in the past, “they may likewise resuscitate, and foment it now.”
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Conference papers on the topic "Theater St"

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LANNIE, MY, and CA SHIRZETSKY. "ACOUSTICS OF THE HERMITAGE THEATRE IN ST. PETERSBURG." In Auditorium Design at the Millennium 1997. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/19075.

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Лысенкова, О. О. "THE ATRICAL TEXTILE SOUVENIR." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_123.

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В статье рассматривается комплексный подход к проведению учебного задания по созданию проекта сувенирного платка или палантина на тему театров Санкт-Петербурга для студентов 4 и 5 курсов кафедры художественного текстиля СПГХПА им. А. Л. Штиглица; подчеркивается актуальность создания молодыми художниками проектов текстильных аксессуаров на тему «Театральный Петербург», соответствующих высокому культурному уровню и имиджу Северной столицы. The article considers a comprehensive approach to the educational task of creating a project souvenir scarf on the theme of theaters in Saint Petersburg for students of the 4th and 5th course of the Artistic Textiles Department of the St. Petersburg Stieglitz State Academy of Art and Design; emphasizes the importance of young artists creating textile accessories projects on the theme of “Theatrical Petersburg”, corresponding to the high cultural level and image of the Northern Capital.
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