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Libros sobre el tema "Privates Theater"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2024

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Schouvaloff, Alexander. Set and costume designs for ballet and theater. Editado por De Pury Simon y Sammlung Thyssen-Bornemisza. New York City: Vendome Press, 1987.

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12

Christine, Hopfengart y Zentrum Paul Klee, eds. Paul Klee: Theater everywhere. Ostfildern: Hatje Cantz, 2008.

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13

Klee, Paul. Paul Klee: Überall Theater. Bern: Zentrum Paul Klee, 2007.

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14

Mürer, Annette. The National Theatre of Norway: Ibsen's own stage. Oslo, Norway: Boksenteret, 1997.

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15

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont.: Friday ev'g, Dec. 30th, 1892 : programme, Edwin Travers' production, William Gillett's greatest success, The private secretary .. [London, Ont.?: s.n., 1986.

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16

Kleinschmidt, Paul. Paul Kleinschmidt: Gemälde aus der Sammlung Deyhle. Ostfildern: Hatje, 1997.

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17

Brigitte, Reinhardt, Buhlmann Britta, Mäntele Martin y Ulmer Museum, eds. Paul Kleinschmidt: Zwischen Bar und Boudoir : Malerei. Ulm: Ulmer Museum, 2003.

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18

der, Dollen Ingrid von, Schneider Erich Dr y Kunsthalle Schweinfurt im ehemaligen Ernst-Sachs-Bad, eds. Paul Kleinschmidt: Hinter den Kulissen : Kunsthalle Schweinfurt, 19. 10. 2012-6. 1. 2013. Schweinfurt: Stadt Schweinfurt, Museen und Galerien sowie die Autorin, 2012.

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19

Hancox, Joy. The Byrom collection and the Globe Theatre mystery. London: Jonathan Cape, 1997.

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20

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont.: Wednesday evening, April 8th, 1885 : the McDowell Comedy Company ... will present New York and London, laughing success, entitled The private secretary .. [London, Ont.?: s.n., 1986.

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21

Klee, Paul. Paul Klee: Botanisches Theater 1924/1934. München: Städtische Galerie im Lenbachhaus, 2005.

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22

Hale, Bruce. Give my regrets to Broadway: From the tattered casebook of Chet Gecko, private eye. Orlando, Fla: Harcourt, 2004.

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23

Flores, Lucía Contreras. Teatros de papel: Colección de Lucía Contreras Flores. Valencia]: Diputació de València, 2008.

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24

Donhofer, Norbert. Papiertheater: Die Sammlung Anna Feja Seitler und Heino Seitler. Wien: F. Deuticke, 1992.

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25

Maison du spectacle--la Bellone (Brussels, Belgium), ed. Costumes du théâtre russe des années 20: Collection Rakitine : présentée à la Maison du spectacle la Bellone, Bruxelles, du 14 janvier au 19 février 1992. [Bruxelles]: Libres images/Presses de la Bellone, 1992.

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26

Reynolds, Aaron. Joey Fly, private eye in Big hairy drama. New York: Henry Holt, 2010.

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27

Zager, Raymond Lee. Private Zager: European Theatre World War II : U.S. 71st Infantry Division : stories told by an infantry motor messenger. Corralitos, CA (330 Eureka Canyon Rd., Corralitos 95076): R.L. Zager, 1999.

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28

National Gallery of Art (U.S.) y National Academy of Design (U.S.), eds. Artists and the avant-garde theater in Paris, 1887-1900: The Martin and Liane W. Atlas collection. Washington: National Gallery of Art, 1998.

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29

Pancani, Eleonora, ed. Ruggero Jacobbi alla radio. Florence: Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-664-8.

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Recent years have seen the publication of a great deal of the work of Ruggero Jacobbi, a legendary figure of Italian twentieth-century culture, thanks to a praiseworthy retrieval of unpublished material conserved in the «A. Bonsanti» contemporary archive of the Gabinetto «G.P. Vieusseux». However, despite so many new pages of poetry and translation, what was still lacking was the writer's voice. The voice which, thanks to the painstaking work of Eleonora Pancani, we can now read (if not hear), as with characteristic dexterity it intermingles verses and music, literature and theatre, politics and entertainment. Ruggero Jacobbi alla radio presents the transcription of several radio programmes of the 70s featuring the genial culture of this multi-faceted intellectual. Jacobbi entertains his audience, discorsing on literary history, the figurative arts and opera, quoting poetry, discussing plays, mingling observations on Goldoni, Pirandello, Bontempelli, Savinio, Pessoa and García Lorca in an engaging anecdotal style that involves the cinema, the theatre and literature, while the great figures of tradition and recent history are interwoven with reminiscences of private life.
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30

Gianinazzi, Barbara. Jingju: Il teatro cinese nella collezione Pilone. Cinisello Balsamo, Milano: Silvana, 2014.

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31

Dessì, Giuseppe. Diari 1949-1951. Editado por Franca Linari. Florence: Firenze University Press, 2010. http://dx.doi.org/10.36253/978-88-6453-055-0.

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From a tender age Giuseppe Dessí was in the habit of entrusting to private writings the unquiet story of his formation, recording against the background of significant vital abodes the events of his life, his reading and his encounters … Franca Linari, who has for some time been studying the relations between the writing of diaries and narrative composition, after the critical edition of the Diaries 1926 –1931 and 1931–1948 (Roma, Jouvence, 1993 and 1999), is now proposing this new collection, philologically impeccable and attentively annotated, which makes it possible to reappraise years subjectively rich in changes and in artistic creation (in the form of stories, work for the theatre, collaboration with important journals), in the cultural and political climate of post-war Italy.
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32

Dessì, Giuseppe. Diari 1952-1962. Editado por Francesca Nencioni y Franca Linari. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6655-004-4.

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In these private notes, the quest for the self appears like a journey of dual metaphorical significance through the intricate weft of the pages and the labyrinth of life. The Diari 1952-1962 of Giuseppe Dessí are presented here in Franca Linari's meticulous transcription accompanied by an introduction and an attentive commentary by Francesca Nencioni. Following the previous volumes, which made it possible to reconstruct the history of his youthful education and the productions of his early maturity, this one now reveals significant changes in the writer's life. A new female figure (Luisa) accompanies a period in which the narrative production that has become the dominant passion becomes decidedly more intensive and continuative, hand-in-hand with an increase in the collaborations with journals and the desire to experiment new forms of expression ushered in by the theatre.
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33

Federico, Berti, D'Afflitto Chiara, Luzzetti Gianfranco y Museo archeologico e d'arte della Maremma., eds. Teatralità nel barocco fiorentino. Firenze: Polistampa, 2007.

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34

Brody, Frances. A medal for murder. Detroit: Thorndike Press, a part of Gale, Cengage Learning, 2013.

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35

Marion Koogler McNay Art Museum. Tobin Gallery of Theatre Arts y Marion Koogler McNay Art Museum, eds. Setting the stage American style: A gift of scene designs from Robert L.B. Tobin. San Antonio, Tex: Marion Koogler McNay Art Museum, 2000.

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36

Marion Koogler McNay Art Museum. Procession: The Tobin Wing, February 10, 1991 - May 31, 1991. San Antonio, Tex: The Museum, 1991.

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37

Sturgess, Keith. Jacobean Private Theatre. Routledge, 2017. http://dx.doi.org/10.4324/9781315301990.

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38

Sturgess, Keith. Jacobean Private Theatre. Taylor & Francis Group, 2017.

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39

Sturgess, Keith. Jacobean Private Theatre. Taylor & Francis Group, 2017.

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40

Sturgess, Keith. Jacobean Private Theatre. Taylor & Francis Group, 2017.

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41

Sturgess, Keith. Jacobean Private Theatre. Taylor & Francis Group, 2017.

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42

Sturgess, Keith. Jacobean Private Theatre. Taylor & Francis Group, 2017.

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43

Jacobean private theatre. London: Routledge & K. Paul, 1987.

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44

Coward, Noel y LA Theatre Works. Private Lives (L.A. Theatre Works Audio Theatre Collection). LA Theatre Works, 2003.

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45

Ezell, Margaret J. M. Theatrical Entertainments Outside the London Commercial Playhouses: Smock Alley, Strollers, School Plays, and Private Performances. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0016.

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In addition to London commercial theatres, audiences enjoyed dramatic performances performed by strolling companies at local fairs, provincial inns, and in private performance. Dublin’s theatre at Smock Alley offered recent and classical plays. In England, both boys’ and girls’ schools included original performances as part of their curriculum, including interludes and operas that were later done on the professional stage.
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46

Sturgess, Keith. Routledge Library Editions : Renaissance Drama: Jacobean Private Theatre. Routledge, 2018.

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47

Hawley, Judith. Dibdin and the Dilettantes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0007.

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This chapter combines archival research with a broad range of biography and social history to shed light on a little understood aspect of Regency-era entertainment, the private theatrical, by bringing it into dialogue with the world of the professional theatre via Charles Dibdin—a man who, it is argued, was secretly implicated in the private culture which he satirized in his own public entertainments. Beginning by reconstructing the cross-class craze for private theatricals, it then moves to contemporary public criticism of the phenomenon, of which Dibdin’s own Private Theatricals formed a part. Analysis of Dibdin’s performance forms a central part of an argument that reads the faux-‘private’ actions of both Dibdin and the dilettantes as part of the irrevocable destabilization of the patent theatres’ monopoly on spoken drama.
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48

Fraser, John. Private View: Inside Baryshnikov's American Ballet Theatre. Random House Value Publishing, 1994.

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49

Private View: Inside Baryshnikov's American Ballet Theatre. Bantam, 1992.

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50

Haldey, Olga. Mamontov's Private Opera: The Search for Modernism in Russian Theater. Indiana University Press, 2010.

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