Academic literature on the topic 'Theaters – Stage-setting and scenery – Germany'
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Journal articles on the topic "Theaters – Stage-setting and scenery – Germany"
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.
Full textKopecký, Jiří, and Lenka Křupková. "The “Slavic spirit” and the opera scene in Olomouc, 1830–1920." Studia Musicologica 58, no. 3-4 (December 2017): 341–61. http://dx.doi.org/10.1556/6.2017.58.3-4.4.
Full textMänniste, 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.
Full textKREUZER, 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.
Full textKullmann, Thomas. "The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 147–59. http://dx.doi.org/10.1515/mstap-2017-0011.
Full textBlackbourn, David. "Politics as Theatre: Metaphors of the Stage in German History, 1848–1933." Transactions of the Royal Historical Society 37 (December 1987): 149–67. http://dx.doi.org/10.2307/3679155.
Full textDaub, Adrian. "The Ob-Scene of the Total Work of Art: Frank Wedekind, Richard Strauss, and the Spectacle of Dance." 19th-Century Music 39, no. 3 (2016): 272–89. http://dx.doi.org/10.1525/ncm.2016.39.3.272.
Full textLyan, Tszitao. "The specificity of interpreting the image of Vassili from the opera “Siberia” by Umberto Giordano." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 152–67. http://dx.doi.org/10.34064/khnum2-14.11.
Full textRusnak, Iryna. "THE POETICS OF THE DRAMATIC MINIATURE “THE WAY FROM KRUTY” BY MYKOLA CHYRSKYI (VISNYKIVETS’ EXPERIENCE)." LITERARY PROCESS: methodology, names, trends, no. 20 (2022). http://dx.doi.org/10.28925/2412-2475.2022.20.8.
Full textNechayenko, Tetyana. "Meiningen Theatre of the Second Half of the Nineteenth Century: Creativity of Ludwig Kroneck's Directing Mechanisms." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 2 (September 3, 2023). http://dx.doi.org/10.32461/2226-3209.2.2023.286911.
Full textDissertations / Theses on the topic "Theaters – Stage-setting and scenery – Germany"
Lee, Jun-yu Phoebe, and 李俊妤. "Balcony romance: stage distance andclosure." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36763159.
Full textAdkins, David A. "Scenic Design for Alan Ayckbourn's Taking Steps." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/AdkinsDA2003.pdf.
Full textBradfield, Howard. "Performance design : the Western Australian Opera Company's contribution to performance design 1968-1997." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/355.
Full textGunther, Jan-Stefan. "The flexible, low-tech environment : a kit of simple architectural elements." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1231349.
Full textDepartment of Architecture
Snider, Jesse Rhea. "Desire Lines: Dérive in Heterotopias." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248523/.
Full textBarrus, David W. "Hamlet : the design as process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Theatre and Dramatic Arts, c2012, 2012. http://hdl.handle.net/10133/3389.
Full textviii, 176 leaves : col. ill. ; 29 cm
O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.
Full textBrunner, Stefan H. "An evening of American operas : an architectural approach to design." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/933458.
Full textDepartment of Architecture
Chuzeville, Sylvain. "Vie, œuvre et carrière de Jean-Antoine Morand, peintre et architecte à Lyon au XVIIIe." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20076/document.
Full textBorn in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology
Bezuidenhout, Pieter Andries. "A comparative study of institutions involved in the training of scenic artists." Thesis, 2010. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000375.
Full textThe training of students for the technical side of the Entertainment Industry in South Africa is not something that has been with us for many years. It is only for the last 33 years that an institution, the then Technikon Pretoria, started a course that trains Scenic Artists in South Africa. Not many institutions are training Scenic Artists in South Africa, and the current Department of Entertainment Technology has always been the leader in this field. In the United Kingdom, training students as Scenic Artists has been part of their programmes for the last ninety years. One finds that there is a demand for training Scenic Artists in the United Kingdom, because of the size and complexity of the Entertainment Industry there. During the Apartheid era, South Africa was excluded from the International scene, so the demand did not really exist here for a number of years. Lately, the Entertainment Industry in South Africa has picked up momentum and expanded its borders immensely, and this has created a great demand for trained Scenic Artists in South Africa. Today one can proudly say that one is part of an industry that trains people as Scenic Artists in South Africa that contributes to the global Entertainment Industry. The Scenic Artists who completed their studies at TUT are employed nationally and internationally, and deliver a very high standard of work on the most impressive projects. During the research that was done between the Tshwane University of Technology in South Africa and the Rose Bruford College and Guildhall School of Drama and Music, both in the United Kingdom in London, one can see that there are no major differences between the three institutions. Each institution has its own methodology, but at the end, all are working towards one goal, and that is to train the best Scenic Artists possible. The differences that present it are in the course structure, available facilities and the amount of staff allocated to do the training.
Books on the topic "Theaters – Stage-setting and scenery – Germany"
Ingeborg, Krengel-Strudthoff, and Rudin Bärbel, eds. In blauer Ferne: Von der Kulissenbühne zum Königsberger panoramischen Theater : Schriften zur Bühnenreform. Wiesbaden: Harrassowitz, 1993.
Find full textKarl Friedrich Schinkel, Bühnenentwürfe =: Karl Friedrich Schinkel, stage designs. Berlin: Ernst & Sohn, 1990.
Find full textTrimingham, Melissa. The theatre of the Bauhaus: The modern and postmodern stage of Oskar Schlemmer. New York: Routledge, 2010.
Find full textPeter, Axer, ed. Die Szene als Modell: Die Bühnenbildmodelle des Richard-Wagner-Museums und der "Ring des Nibelungen" in Bayreuth 1876-2000. München: Deutscher Kunstverlag, 2006.
Find full textBrachwitz, Christian. Trilogie der Leidenschaft: Medea von Euripides, Stella von Goethe, Totentanz von Strindberg in Inszenierungen des Deutschen Theaters : Regie, Alexander Lang, Bühnenbild und Kostüme, Volker Pfüller. Berlin: Henschelverlag Kunst und Gesellschaft, 1988.
Find full textReinhard, Beuth, Schweikert Uwe, and Jürgens Thomas Dr, eds. Rosalie: Bilder und Räume : Theater, Malerei, Objekte, Installationen. Stuttgart: J.B. Metzler, 2000.
Find full textZeppenfeld, Inge. Anti-illusionistische Spielräume: Die ästhetischen Konzepte des Surrealismus, Symbolismus und der abstrakten Kunst im Spiegel der Theaterarbeit Achim Freyers und Axel Mantheys. Tübingen: Niemeyer, 1998.
Find full textKlaus-Dieter, Reus, and Gymnasium Christian-Ernestinum Bayreuth, eds. Faszination der Bühne: Barockes Welttheater in Bayreuth, barocke Bühnentechnik in Europa. 2nd ed. Bayreuth: Rabenstein, 2001.
Find full textEuropäisches Zentrum der Künste Dresden (Hellerau, Germany), ed. Rekonstruktion der Zukunft: Raum, Licht, Bewegung, Utopie : Adolphe Appia, Alexander von Salzmann, Émile Jaques-Dalcroze. Leipzig: Spector Books, 2017.
Find full text1962-, Billeter Felix, ed. Comme une image: Malerei und Szene = painting and staging. München: Deutscher Kunstverlag, 2011.
Find full textBook chapters on the topic "Theaters – Stage-setting and scenery – Germany"
Harwood, Elain. "Theatres in West Germany, 1945–70." In Setting the Scene, 103–32. Routledge, 2016. http://dx.doi.org/10.4324/9781315608471-6.
Full textAdler, Gerald. "The German Reform Theatre." In Setting the Scene, 35–60. Routledge, 2016. http://dx.doi.org/10.4324/9781315608471-3.
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