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Relevant bibliographies by topics / Theatre; Austria

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Academic literature on the topic 'Theatre; Austria'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Theatre; Austria"

1

Kurz, Rosemarie. "SENIOR THEATRE AN IMPORTANT PART OF SENIOR CULTURE." Journal of Education Culture and Society 7, no. 1 (June 28, 2016): 152–64. http://dx.doi.org/10.15503/jecs20161.152-164.

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The third age is an opportunity and can be used wisely. Going to university, travelling, volunteering or joining a theater group could be possibilities. The article deals with Cultural Implications, and with senior theatre forging ahead in unexpected and adventurous directions. Last not least about the situation of Senior Theatre in Graz, Austria

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Golovlev, Alexander. "Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s." New Theatre Quarterly 35, no. 04 (October 8, 2019): 312–24. http://dx.doi.org/10.1017/s0266464x19000368.

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In this article Alexander Golovlev offers a comparative examination of the theatre policies of Fascist Italy and Stalinist Soviet Union. He argues that, although the two regimes shared parallel time frames and gravitated around similar institutional solutions, Italian Fascism was fundamentally different in its reluctance to destroy the privately based theatre structure in favour of a state theatre and to impose a unified style, while Stalin carried out an ambitious and violent campaign to instil Socialist Realism through continuous disciplining, repression, and institutional supervision. In pursuing a nearly identical goal of achieving full obedience, the regimes used different means, and obtained similarly mixed results. While the Italian experience ended with the defeat of Fascism, Soviet theatres underwent de-Stalinization in the post-war decades, indicating the potential for sluggish stability in such frameworks of cultural-political control. Alexander Golovlev is Research Fellow at the International Centre for the History and Sociology of World War II and Its Consequences, National Research University, Higher School of Economics / Fondation de la Maison des Sciences de l’Homme, and ATLAS Fellow, Centre d’histoire culturelle des sociétés contemporaines, Université de Versailles-Saint-Quentin-en-Yvelines/ Université Paris-Saclay. His most recent publications include ‘Sounds of Music from across the Sea: Musical Transnationality in Early Post-World-War-II Austria’, in Yearbook of Transnational History 1 (2018) and ‘Von der Seine an die Salzach: die Teilnahme vom Straßburger Domchor an den Salzburger Festspielen und die französische Musikdiplom atie in Österreich während der alliierten Besatzungs zeit’, Journal of Austrian Studies (2018). He is currently working on the political economy of the Bolshoi theatre under Stalinism.

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Goršič, Niko. "To the last breath." Maska 31, no. 181 (December 1, 2016): 146–49. http://dx.doi.org/10.1386/maska.31.181-182.146_7.

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While still a student of sociology, Damir Domitrović co-founded Club B-51 on Gerbičeva Street, a nexus of the subculture in Ljubljana. In 1991, during the beginnings of the wars in former Yugoslavia, he conceived the B-51 Cultural Society, then two years later started the EX PONTO festival as a sort of creative-spiritual meeting point of refugee artists from the Balkan Wars. In the 22 years since, it has grown into an important international festival of the performing arts. He supported the Rajvosa project, which was dedicated to the Bosnian minority community in Slovenia, was an instigator of the Kluže festival at the tri-border of Slovenia, Italy and Austria, and in 2005 co-founded the New European Theatre Action (NETA), the largest theatre network in South-Eastern Europe, which today encompasses 68 festivals and theatres in 20 countries.

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Saivetz, Deborah. "‘What Counts is the Landscape’: the Making of Pino DiBuduo's ‘Invisible Cities’." New Theatre Quarterly 16, no. 1 (February 2000): 50–64. http://dx.doi.org/10.1017/s0266464x00013452.

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In October 1998 the Italian director Pino DiBuduo visited the Newark, New Jersey, campus of Rutgers University on the occasion of the major international conference, ‘Arts Transforming the Urban Environment’ For the occasion, he transformed a bleakly concrete teaching block on the Newark campus into a site for the latest of his Invisible Cities projects. These had originated in his Teatro Potlach company's residency in the Italian village of Fara Sabina in 1991, where DiBudo's intention – as in a number of site-specific variations on Invisible Cities since – was to render ‘visible’ aspects of the everyday urban environment which we no longer have the imagination or the patience to ‘see’. While Deborah Saivetz looks also at this original Italian project, and at a later version in Klagenfurt, Austria, she concentrates here on the Newark production, whose development she recorded – in this opening article in her own and DiBuduo's words, and in the following piece through the experiences and recollections of the participants. Deborah Saivetz holds a doctorate in Performance Studies from Northwestern University, and is currently Assistant Professor of Theater in the Department of Visual and Performing Arts at the Newark campus of Rutgers University. Her directorial work includes productions for the New Jersey Shakespeare Festival, the Drama League of New York's Directors’ Project, New York's Alchemy Courthouse Theater, and the Parallax Theater Company in Chicago. She has also worked with JoAnne Akalaitis as assistant director on John Ford's ‘Tis Pity She's a Whore at Chicago's Goodman Theatre, and created original theatre pieces with Chicago's Industrial Theater and Oxygen Jukebox.

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Idziak-Smoczyńska, Urszula. "Wittgenstein and the Theatre of Confession." Wittgenstein-Studien 9, no. 1 (February 21, 2018): 31–49. http://dx.doi.org/10.1515/witt-2018-0004.

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Abstract:In this article we perform a juxtaposition of Wittgenstein’s confession with the art of drama. Our aim is to transpose the private language argument criticizing the ostensive definition of internal objects (beetle in a box thought experiment) onto confession and the art of drama performance. The play (possibly called “game”) of the actor is not an expression of his soul interior, but an autonomous necessity in the most decisive meaning – which means: the only thing to be done. Correspondingly, confession doesn’t express any interior misery – it is an acting (the double sense of this word will be further developed), the only possible acting within these conditions, the only possible response to one’s condition – a condition of mutilation where human misery appears very distinctly. Confession creates neither a relation of power (as Foucault was demonstrating in his late writings) nor a form of emotional exhibitionism but a language game consisting on words judging oneself, immune to interpretation, explanation, and vanity coming from their expression. Irreplaceable words become the agent of salvation.1 This article is the effect of great encounters that helped me – a non-Wittgensteinian – to “see” Wittgenstein perhaps more than understand his philosophy. I should first address many thanks to Dr. Ilse Somavilla who welcomed me on the beautiful roof of the Brenner Archives in Innsbruck together with its director Prof. Ulrike Tanzer (Thank you!). It is through Ilse Somavilla’s writings and archive editing work that I could engage myself and follow her on a path of reading Wittgenstein with a sensibility for religion and art. I owe also a lot of thankfulness to Prof. Alois Pichler for long lasting, repeated hospitality in the Wittgenstein Archives at the Bergen University and great patience for my plans of developing research plans about Wittgenstein in the Polish Galicia. The ability to visit these two places, Norway and Austria, have left inside myself a Wittgensteinian imagery that creates the scenography of my philosophical attempt inside this article. My research would not be possible without receiving the scholarship of the Republic of Austria OEAD for which I also express my deep gratitude. I am also very grateful to Kasia Mala for her linguistic revision of my article. And finally, what triggered this Winn-gensteinian performance were unforgettable dinners with Maja, my Mother Agata, and my son Światopełek – to say they were inspiring is not enough…

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MÜLLER-SCHÖLL, NIKOLAS. "Theatre of Potentiality. Communicability and the Political in Contemporary Performance Practice." Theatre Research International 29, no. 1 (March 2004): 42–56. http://dx.doi.org/10.1017/s030788330300124x.

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Much contemporary experimental theatre and many performance practitioners in Germany and Austria share an interest in what one might call the material conditions or the medium of their performances. The article discusses different examples where the sharing of space, language and time in performance and thereby the ‘communicability’ (W. Benjamin) of communication is explored. Directors and writers discussed include H.J. Kapp, W. Golonka, L. Chetouane, R. Pollesch, C. Bosse, J. Szeiler. It is argued that in these cases theatre is done in a political way, because it allows the experience of alterity and opens up a space of potentiality.

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Sonnleitner, Ute. "Moving German-Speaking Theatre: Artists and Movement 1850–1950." Journal of Migration History 2, no. 1 (March 22, 2016): 93–119. http://dx.doi.org/10.1163/23519924-00201004.

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This article presents the ‘movement of artists’ from 1850 to 1950, an aspect of migration which did not historically attract much attention. The mobility of actors and actresses, singers, and dancers was taken for granted. The public did not pay much attention to the ongoing migratory movements in the entertainment industry, despite their importance to the theatre and its members. Well-known ‘stars’ were admired as gods and goddesses of the stage, while wandering artists were considered drifters. The relevance of intersectional relations becomes apparent. Furthermore, this article analyses mechanisms of perception and representation, exemplifying structures using the example of the theatre season of 1882–1883 and the appearances of Sarah Bernhardt, Franziska Ellmenreich, and Josefine Gallmeyer in Graz (Styria, Austria).

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Zarrilli, Phillip B. "Embodying, Imagining, and Performing Displacement and Trauma in Central Europe Today." New Theatre Quarterly 24, no. 1 (January 30, 2008): 24–40. http://dx.doi.org/10.1017/s0266464x08000031.

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This article provides an illustrated description and analysis of Speaking Stones – a collaborative performance commissioned by Theatre Asou of Graz, Austria, with UK playwright Kaite O'Reilly and director Phillip Zarrilli as a response to the increasingly xenophobic and reactionary realities of the politics of central Europe. The account interrogates the question, the dramaturgical possibilities, and the performative premise which guided the creation of Speaking Stones. Phillip Zarrilli is internationally known for training actors through Asian martial arts and yoga, and as a director. In 2008 he is directing the premiere of Kaite O'Reilly's The Almond and the Seahorse for Sherman-Cymru Theatre and the Korean premiere of Sarah Kane's 4:48 Psychosis. He is also Professor of Performance Practice at the University of Exeter.

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Wilmer, Steve. "Greek Tragedy as a Window on the Dispossessed." New Theatre Quarterly 33, no. 3 (July 10, 2017): 277–87. http://dx.doi.org/10.1017/s0266464x17000318.

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In this article Steve Wilmer discusses adaptations of Greek tragedy that highlight the plight of the displaced and the dispossessed, including Janusz Glowacki's Antigone in New York, Marina Carr's Hecuba, and Elfriede Jelinek's Die Schutzbefohlenen, which is notably emblematic among appropriations of ancient Greek plays in referencing the problems facing refugees in Europe. He considers how this latter play has been directed in a variety of ways in Germany and Austria since 2013, and how in turn it has been reappropriated for new dramatic performances to further investigate the conditions of refugees. Some of these productions have caused political controversy and one of them has even been physically attacked by a right-wing group. Steve Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He is the co-editor of ‘Theatre and Statelessness in Europe’ for Critical Stages (2016), Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016), and Deleuze and Beckett (Palgrave Macmillan, 2015). He also edited a special issue of Nordic Theatre Studies in 2015 titled ‘Theatre and the Nomadic Subject’.

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Mosusova, Nadezda. "Symbolism and theatre of masques: The deathly carnival of la belle époque." Muzikologija, no. 5 (2005): 85–99. http://dx.doi.org/10.2298/muz0505085m.

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The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).

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Dissertations / Theses on the topic "Theatre; Austria"

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Beniston, Judith. "Hofmannsthal's #Welttheater' : perspectives on an image." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284289.

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Wilkinson, Jane. "Performance around Lake Constance : theatre, place and identity in Austria, Germany and Switzerland." Thesis, University of Glasgow, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407696.

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McCarthy-Rechowicz, Matthew. "Franz Grillparzer's dramatic heroines and women's emancipation in nineteenth-century Austria." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:0bdefd2f-b09f-4653-9abb-236681262622.

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Recent decades have seen an increase in feminist critiques of the works of Franz Grillparzer (1791–1872), and a growing awareness that these deal with contemporary issues around the social roles of women. This study builds on exsiting feminist-themed examinations of Grillparzer's works to show more fully how they fit into the context of calls for women's rights in nineteenth-century Austria. New interpretations of Grillparzer's heroines are made possible by considering the full spectrum of the author's intellectual interests and examining his dramas through the lenses suggested by his reading. Des Meeres und der Liebe Wellen is seen in the context of the Enlightenment, and Sappho and Libussa are analysed with reference to social contract theory. Contemporary feminist approaches are combined with Schiller's thought on stadial history, and with Grillparzer's analysis of Shakespeare's Macbeth, to give new insight into Das goldene Vließ and Die Jüdin von Toledo respectively. Consideration of the lives and works of Grillparzer's female friends provides the context for my analysis, and helps define the original nature of this thesis. While several earlier studies have argued for the influence of Grillparzer's romantic interests on the construction of his heroines, sufficient attention has not been given to these heroines in the context of the intellectual women Grillparzer knew. While I do not argue that Grillparzer's heroines were influenced by the authors and other prominent women he knew, examination of the lives and works of Caroline Pichler, Betty Paoli, Marie von Ebner-Eschenbach, Sophie Schröder and others shows that Grillparzer was on friendly terms with intellectual women throughout his career, and that all of these women were to some degree critical of the contemporary social situation of women.

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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

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Pyrah, Robert. "Viennese theatre and constructions of Austrian identity, 1918-38." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408216.

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Cronin, Bernadette Joan. "Post-memories of the Holocaust in contemporary Austrian theatre : projects against forgetting." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/104522.

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This dissertation examines contemporary responses by Austrian theatre makers from the free theatre sector, that is, those working outside of the state theatre establishment, to the outcome of what came to be known as ‘the big lie’ on which Austrian national identity was built following liberation from German rule by the Allied forces in 1945. The ensuing problem for the post-war generations of having to claim a past that was buried under the carefully constructed official version of history but mediated through the silence of their parents and grandparents – shaping their (inner) lives – and possibilities for representing such experience through the medium of theatre are core issues explored in this study. The main focus of the dissertation is analysis of a selection of three pieces of theatre produced by two free theatre companies in Austria, Auf der Suche nach Jakob / Searching for Jacob / Szukajac Jakuba, and Pola, both by the Projekttheater Studio based in Vienna, and Speaking Stones: images, voices, fragments… from that which comes after by Theater Asou in Graz, Styria. Apart from contextualization of the central thematic concerns of the selected pieces of theatre within the historical events of 20th century Austria, and discussion of the theoretical framework within which the pieces are analysed, this study also offers a consideration of the phenomenon of the free theatre sector in contemporary Austria as a complement and an alternative to the state theatre sector, its roots and development since the post WWII period through to the early 21st century. Interviews with theatre artists, arts administrators and a Holocaust eye witness are also drawn upon to investigate how free theatre can provide a medium though which memory-work, the subtleties of damage and the inexpressible, and the difficult task of claiming the past can be explored.

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au, r. mccarron@ecu edu, and Robyn McCarron. "Performing arts in regional communities: The case of Bunbury, Western Australia." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.

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Abstract In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society. This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title community theatre than the state-funded community theatre movement of the 1970s and 1980s. The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region. A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.

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Foster, Michael E., and n/a. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975." Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040810.091417.

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The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.

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Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.

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Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.

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Garde, Ulrike 1964. "The Australian reception of Austrian, German and Swiss drama : productions and reviews between 1945 and 1996." Monash University, German Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8820.

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Books on the topic "Theatre; Austria"

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Yates, W. E. Theatre in Vienna: A critical history, 1776-1995. Cambridge: Cambridge University Press, 1996.

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Yates, W. E. Schnitzler, Hofmannsthal, and the Austrian theatre. New Haven: Yale University Press, 1992.

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Link, Dorothea. The National Court Theatre in Mozart's Vienna: Sources and documents, 1783-1792. Oxford: Clarendon Press, 1998.

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Klaus, Bachler, ed. Das Burgtheater 1955-2005: Die Welt-Bühne im Wandel der Zeiten. Wien: Deuticke im Paul Zsolnay Verlag, 2005.

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Fialik, Maria. Der konservative Anarchist: Thomas Bernhard und das Staats-Theater. Wien: Löcker, 1991.

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G, Pauly Reinhard, ed. Papageno: Emanuel Schikaneder, man of the theater in Mozart's time. Portland, Or: Amadeus Press, 1990.

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Friedrich Kaiser (1814-1874) et le théâtre populaire en Autriche au XIXe siècle. Berne: P. Lang, 1993.

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Raimund Theater. Wien: Jugend und Volk, 1985.

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Vella, Maeve. Theatre of the impossible: Puppet theatre in Australia. Roseville, N.S.W: Craftsman House, 1989.

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Milne, Geoffrey. Theatre Australia (un)limited: Australian theatre since the 1950s. Amsterdam: Rodopi, 2004.

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Book chapters on the topic "Theatre; Austria"

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Winkelsesser, Karin. "Musiktheater am Volksgarten, 2013 Linz, Austria." In Modern Theatres 1950–2020, 506–8. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-65.

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Fotheringham, Richard. "The Politics of Theatre and Political Theatre in Australia." In The Politics of Theatre and Drama, 66–83. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21792-2_4.

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Toelle, Jutta. "„Zielpunkt : Austro-Italiens moralische Hegemonie“." In Kulturpolitik und Theater, 175–90. Wien: Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792048.175.

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Pizzato, Mark. "Medieval Europe and Premodern Africa, Australia, and the Americas." In Mapping Global Theatre Histories, 99–120. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12727-5_5.

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Staples, David. "Sydney Opera House, 1973 Sydney, Australia." In Modern Theatres 1950–2020, 237–48. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-30.

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Brinkman, Tim. "Arts Centre Melbourne, 1982 Melbourne, Australia." In Modern Theatres 1950–2020, 296–307. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-36.

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MacDonald, Laura. "Trading Globally in Austrian History: Vereinigte Bühnen Wien." In The Palgrave Handbook of Musical Theatre Producers, 343–49. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_34.

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Varney, Denise, Peter Eckersall, Chris Hudson, and Barbara Hatley. "Solid and Liquid Modernities in Regional Australia." In Theatre and Performance in the Asia-Pacific, 79–94. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367891_6.

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Parvev, Ivan. "Pax Austriaca auf dem Balkan. Das Gutachten Graf Jörgers über die kaiserlichen Kriegs- und Friedensziele in Südosteuropa (1689)." In Theatrum Belli – Theatrum Pacis, 163–78. Göttingen: Vandenhoeck & Ruprecht, 2018. http://dx.doi.org/10.13109/9783666370830.163.

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Bonin-Rodriguez, Paul. "New Work Now! The Austin New Works Theatre Community (2012)." In Performing Policy, 50–70. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137356505_3.

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Conference papers on the topic "Theatre; Austria"

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

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.

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Schou, Torben, and Henry J. Gardner. "A Wii remote, a game engine, five sensor bars and a virtual reality theatre." In the 2007 conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1324892.1324941.

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Reports on the topic "Theatre; Austria"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.

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