Gotowe bibliografie tematyczne / Edinburgh International Festival (1987 : Edinburgh, Scotland)

Gotowa bibliografia na temat „Edinburgh International Festival (1987 : Edinburgh, Scotland)”

Autor: Grafiati

Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Edinburgh International Festival (1987 : Edinburgh, Scotland)"

O'Gorman, Siobhan. "Remembering Molly MacEwen: Sue Harries and Alasdair MacEwen in Conversation". Review of Irish Studies in Europe 4, nr 1 (14.06.2021): 43–65. http://dx.doi.org/10.32803/rise.v4i1.2643.

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Molly MacEwen’s design career took off after serving as Micheál mac Liammóir’s apprentice at the Dublin Gate during the mid-1930s and following her design work on the 1938 Empire Exhibition in Glasgow. MacEwen went on to make a significant contribution to Irish and Scottish theatre design that has received little recognition in existing theatre scholarship. Illustrated by images of materials from (for the most part) the Scottish Theatre Archive’s Molly MacEwen collection (1948-1961), this article comprises an introduction to MacEwen, followed by a composite of selected conversations from interviews with MacEwen’s niece, Sue Harries, and nephew, Alasdair MacEwen. We learn of MacEwan’s familial and personal links to continental Europe, her unrequited devotion to mac Liammóir, and her successes in designing at Glasgow’s Citizens’ Theatre and for the Edinburgh International Festival after leaving the Gate in 1947 to work in Scotland. The dialogues in this article also reveal that MacEwen was a very shy and retiring woman, and that the men with whom she worked – including Edwards, mac Liammóir, and Tyrone Guthrie – took her for granted and possibly diminished the extent of her work. This situation, combined with gender inequalities and the collaborative nature of MacEwen’s design roles, may have led to her work being overlooked at the time and in pertinent publications on design and theatre. This article seeks to go some way towards recovering MacEwen’s important achievements for theatre history. Key Words: Molly MacEwen, Dublin Gate Theatre, Scottish theatre, design, women in theatre, Edinburgh International Festival, Michéal mac Liammóir

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Li, Ruru. "Macbeth Becomes Ma Pei: An Odyssey from Scotland to China". Theatre Research International 20, nr 1 (1995): 42–53. http://dx.doi.org/10.1017/s0307883300007021.

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Ma Pei is the protagonist in Blood-Stained Hands (Xie shou ji), adapted from Macbeth by the Shanghai Kunju Troupe (Shanghai Kunju Tuan). This production was first presented at China's first Shakespeare Festival in the spring of 1986, and came to Britain for the 1987 Edinburgh Festival and subsequently went on tour, to great acclaim, to Manchester, Birmingham, Cardiff and London. Its significance is marked not only by a fusion of Shakespearian characterization into stock Kunju character types, but also by its forcing changes on the Kunju stage.

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Knowles, Ric. "The Edinburgh Festival and Fringe: Lessons for Canada?" Canadian Theatre Review 102 (marzec 2000): 88–96. http://dx.doi.org/10.3138/ctr.102.016.

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A visit to the last ten days of the formidable Edinburgh International Festival and its famous Fringe – the ur-festivals for English language international festivals and fringes in Canada as elsewhere – provides the opportunity for some comparative musings on the cultural role played by such events in both Scotland and Canada. In a consciously provocative opinion piece in the Spring 1992 issue of Theatre Forum, Ritsaert ten Cate asked, “Festivals: Who Needs ‘Em?” In attempting to answer the question – “travel agents, who can offer package deals” is the closest he seems to get, quoting a “deadly serious” American student (87) – ten Cate raises some issues that remain crucial to any discussion of the cultural work performed by international festivals at the turn of the millennium. He focuses on a familiar, mutually reinforcing binary that seems to set artists/producers against the economic and other interests of governments, funders and “the part of society that provides cash backing for a festival (an overlapping, but essentially different part of society from that which makes up our audiences)” (87). It’s “‘us’ against ‘them,” he says (86). But his essay also touches on less familiar, more useful territory, including “the presentation of our registered cultural trademarks” (87) and “a move toward multiculturalism which seems inspired more by pragmatic reasoning, political opportunism, and the availability of funding than … by any involvement of the heart” (87). Noting ruefully that “we have witnessed just how successfully the arts can be incorporated as a useful aspect of consumer society,” he argues, against his own “better” instincts, that festival organizers “must consider what their own function is within the larger context of a melange of art and society and the world …” (86, emphasis in original).

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Reason, Matthew. "Archive or Memory? The Detritus of Live Performance". New Theatre Quarterly 19, nr 1 (10.01.2003): 82–89. http://dx.doi.org/10.1017/s0266464x02000076.

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The positive valuation of theatre as live performance, and therefore also its transience, is frequently accompanied by the urgent expression of the need to counter that transience by means of documentation. This desire to ‘save’ theatre reaches its most fervent expression (and hope of authority and permanence) with the live performance archive. Archive theory, however, now insists on the instability and uncertainty of the archive, which not only documents but also constructs its subject. In this article, Matthew Reason argues that, by tracing comparisons between archives and human memory, it is possible to establish a new formulation of the archive – as detritus, not completeness – that puts a value on mutability as a reflection of theatre's liveness. Matthew Reason is currently completing a PhD on representations of live performance at the University of Edinburgh. He has edited a special edition of the Edinburgh Review (ER106) on Theatre in Scotland, and has previously worked at the Edinburgh International Festival, where his responsibilities included maintaining the archive.

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Vois, Michel, i Kevin Eistob. "JEU, #70 mars 1994, Prornethée Enchaîné, Carta de Ajuste ou Nous N’Avons Plus Besoin de Calendrier, Original Soundtracks of Theatrical Performances". Canadian Theatre Review 85 (grudzień 1995): 79–80. http://dx.doi.org/10.3138/ctr.85.017.

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Over the past decade, translations of plays by Michel Tremblay and Robert Lepage have given Québécois theatre a firm international foothold. The Guid Sisters(the Scots translation of Tremblay’s Les Belles Soeurs) earned critical praise at the Edinburgh Festival (1987); equally enthusiastic reviews supported Lepage’s Dragon Trilogy at the Los Angeles Theatre Festival (1990) and his Needles and Opium at the Chicago International Theatre Festival (1994). As the renown of this identity-conscious region’s dramatic repertoire has grown abroad, Quebec’s theatres have been producing plays by overseas authors and artists from Quebec’s international and immigrant communities. The recent Festival de Theatre des Ameriques brought theatre professionals from five continents to Montreal. Far from abdicating its noteworthy support for homegrown dramatic talent, Quebec’s theatre community is striving to nurture its own as it evolves towards new ethnic and global crossroads.

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Vaughan, O. J. "The Chemistry of the Platinum Group Metals". Platinum Metals Review 37, nr 4 (1.10.1993): 212–19. http://dx.doi.org/10.1595/003214093x374212219.

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Organised by the Dalton Division of the Royal Society of Chemistry, the fifth International Conference on the Chemistry of the Platinum Group Metals was held at the University of St. Andrews, Scotland, on 11th to 16th July 1993. Previous meetings in this series have been held in Bristol (1981), Edinburgh (1984), Sheffield (1987) and Cambridge (1990). More than four hundred delegates from thirty-three countries, attended the meeting for a programme of forty-two lectures and over two hundred poster presentations.

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Polunin, Nicholas. "Third International Conference on Environmental Future: Maintenance of the Biosphere, held in the University of Edinburgh, Edinburgh, Scotland, UK, during 24–26 September 1987". Environmental Conservation 14, nr 4 (1987): 372–73. http://dx.doi.org/10.1017/s0376892900017045.

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Burrows, A. S. "The Law of Contract in Scotland. By William W. Mcbryde. [Edinburgh: Green. 1987 xc + 684 pp. £55]". International and Comparative Law Quarterly 37, nr 1 (styczeń 1988): 234–35. http://dx.doi.org/10.1093/iclqaj/37.1.234.

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Bell, John. "The Laws of Scotland: Stair Memorial Encyclopedia Vol.1. General editor SirThomas Smith. Q.C. [Edinburgh: The Law Society of Scotland and Butterworths. 1987. xxx + 486 pp. £88]". International and Comparative Law Quarterly 37, nr 3 (lipiec 1988): 757–58. http://dx.doi.org/10.1093/iclqaj/37.3.757.

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Greig, David. "‘I Let the Language Lead the Dance’: Politics, Musicality, and Voyeurism". New Theatre Quarterly 27, nr 1 (luty 2011): 3–13. http://dx.doi.org/10.1017/s0266464x11000017.

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David Greig is one of Britain's most versatile and exciting playwrights, whose awardwinning work – commissioned by, among others, Suspect Culture, the Royal Shakespeare Company, the National Theatre of Scotland, the Edinburgh International Festival, and the Traverse Theatre – has been performed all over the world. His personal voice is characterized by the sensitive musicality of his text, an individual sense of humour, and an acute awareness of the world around us. Whether his protagonists are Cambridge ornithologists, Scottish lords, or American pilots, Greig creates works of extreme visual beauty and emotional directness in lyrical soundscapes. In the interview which follows, completed in June 2010, he discusses the themes of politics and national identities; language, music, and experimental forms; directors, directing, and adaptations; and watching bodies on stage. Greig believes that theatre is a form of voyeurism, ‘a consensual exchange’ to ‘look at people and watch how they behave’. In his work, the act of watching thus acquires a new role surpassing the simple function of pleasure, and enabling the viewer to engage further with the theatre's mediation to comment, justify, explain, and promote a better understanding of the complexities of human nature – voyeurism in theatre being re-read as a new freedom of the gaze, and its fetishistic attributes re-evaluated as an emancipation of restrained energy, testing the boundaries of taboo. George Rodosthenous is Lecturer in Music Theatre at the School of Performance and Cultural Industries of the University of Leeds. He is Artistic Director of the Altitude North theatre company, and also works as a freelance composer for the theatre. He is currently working on the book Theatre as Voyeurism: the Pleasure(s) of Watching.

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Książki na temat "Edinburgh International Festival (1987 : Edinburgh, Scotland)"

Duncan, Gary, Ishbel Matheson i Devin Scobie. Festival Edinburgh: 1987. Edinburgh: Precedent Publications Ltd., 1987.

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Manning, Aubrey. Scotland - our environment and the world: The Scottish N : the international science festival, Edinburgh lecture. Edinburgh: Scottish Natural Heritage, 1997.

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D, Wilson John, red. Assessment for teacher development: Proceedings of an international seminar held in Edinburgh, Scotland, June 1987. London: Falmer Press, 1989.

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Pilcher, Robin. Starburst. Leicester: Charnwood, 2008.

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Pilcher, Robin. Starburst. New York: Thomas Dunne Books/St. Martin's Press, 2007.

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Starburst. London: Sphere, 2008.

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Atkinson, Kate. One Good Turn. New York: Little, Brown and Company, 2006.

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Atkinson, Kate. One good turn: A novel. New York: Little, Brown, 2006.

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Atkinson, Kate. One Good Turn. London: Transworld, 2010.

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Atkinson, Kate. One good turn: A jolly murder mystery. [Toronto]: BondStreet Books, 2006.

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Części książek na temat "Edinburgh International Festival (1987 : Edinburgh, Scotland)"

Antchak, Vladimir, Vassilios Ziakas i Donald Getz. "Edinburgh, a Festival City". W Event Portfolio Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-91-8-4201.

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Edinburgh has long been recognized as a global model for “festival cities”, and is often cited as a leader in the planning and evaluation of events. In 2010 Edinburgh won the World Festival and Event City award from the International Festival and Event Association (IFEA) and was declared the most outstanding global entry. According to Visit Scotland’s 2015 visitor survey (cited in BOP Consulting 2018, p. 8), “Edinburgh’s Festivals each year deliver over 3,000 events, reaching audiences of more than 4.5 million and creating the equivalent of approximately 6,000 full time jobs. 32% of the 14 million+ annual visitors to Scotland are moti- vated by the nation’s cultural and heritage offer, in which the Festivals play a defining role.” The city is frequently cited in the events literature, and its generous posting of material online is a boon to scholars and practitioners alike. The companion book in this series, Event Impact Assessment (Getz, 2019), presents highlights from a succession of impact studies that Festivals Edinburgh has placed online, while in this book we examine portfolio management through a review of published documents (all available online) and input from Festivals Edinburgh. Permanent, formal stakeholder collaboration, and strategic planning sup- ported by research is in large part what distinguishes Edinburgh’s event port- folio. The Festivals Forum (established in 2007 following the first Thundering Hooves report) facilitates stakeholder collaboration, particularly by bringing major funders to the table with events and venues. Festivals Edinburgh is a formal, staffed association of the eleven major, permanent festivals that contrib- ute most to the city’s image and to event-tourism impacts. Leadership is shared, not concentrated in one organization. As well, the city and Scottish Government work closely together, facilitated by the explicit portfolio strategy followed by EventScotland. Innovation in programming the festivals is matched by leadership in envi- ronmental sustainability and social responsibility. Engagement with residents is considered to be a high priority, and this includes demonstrating benefits through regular and comprehensive impact studies that cover cultural, social, economic and environmental impacts. Investment in venues and infrastructure has also been a priority for the city.

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"CHAPTER 16 The Rises and Falls of the Edinburgh International Film Festival". W Cinema, Culture, Scotland, 181–94. Edinburgh University Press, 2024. http://dx.doi.org/10.1515/9781399512886-021.

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Richards, Greg. "Festivals in the Network Society". W Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2645.

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Albert Einstein once remarked that “The only reason for time is so that everything doesn’t happen at once”. In the contemporary network society, however, this system seems to have ceased working. We are constantly bombarded by events. The regular rhythms of events in traditional societies and the ordered series of events in industrial society seem to have given way to a chaotic cacophony of happenings, which we might characterise as ‘hyper-eventfulness’ or ‘hyperfestivity’. As Richards and Palmer (2010) noted, the slogan ‘festival city’ or ‘city of festivals’ has become a popular choice as part of a city’s brand image. Edmonton refers to itself as ‘Canada’s Festivals City’, setting itself in competition with Montreal and Quebec City that define them- selves in similar terms. Milwaukee and Sacramento are two American cities, along with some 30 others, where being ‘cities of festivals’ has become a prime element of their destination marketing throughout the year. Guadalajara, Mexico’s second largest city, similarly tries to gain national and international standing by communicating itself as a festival centre. The world status of Edinburgh is claimed on the official website of the Edinburgh Festivals:”‘With the stunning Hogmanay celebrations heralding a brand new year and the start of Homecoming Scotland 2009, the World’s Leading Festival City is gearing up for spring, and more of its exciting festivals.” The explosion of eventfulness and festivity evident in contemporary society was also one of the reasons that Dragan Klaić founded the European Festivals Research Project in 2004. The project was launched “believing that festivals have become emblematic for the issues, problems and contradictions of the current cultural practices, marked by globalization, European integration, institutional fatigue, dominance of cultural industry and shrinking public subsidies”. As these challenges have only become sharper during the past decade, festivals and events have emerged as an essential part of the contemporary cultural landscape.

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Green, Fanni V. "Now Is Not the Time for Silence". W Building Womanist Coalitions, 188–207. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042423.003.0012.

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Focused on the author’s work as a womanist playwright, director, and acting professor, this chapter reveals the personal, political, and performative implications of her most recent play, What the Heart Remembers: the Women and Children of Darfur, a choreo-poem for voice, dance, and percussion. In this chapter, she writes about the conceptual process of the “choreo-poem” and her journey toward its production. As an artistic-activist educator, she utilizes the play’s thematic focus as her personal response to the gender politics of genocide and ongoing civil war between North and South Sudan, in Africa. She not only reflects upon her position as a black/woman of color, she also addresses the politics of race and gender border-crossing involved in the play’s production related to her collaboration with her colleague (a white female dance professor and choreographer for the play). In 2012, she and her colleague premiered What the Heart Remembers in Scotland at the Edinburgh International Theatre Festival.

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