Gotowe bibliografie tematyczne / Vienna (Austria) – Drama

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek

Gotowa bibliografia na temat „Vienna (Austria) – Drama”

Autor: Grafiati
Data publikacji: 28 lipca 2024
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Vienna (Austria) – Drama"

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Koehler, Jonathan. "“Soul Is But Harmony”: David Josef Bach and the Workers' Symphony Concert Association, 1905–1918". Austrian History Yearbook 39 (kwiecień 2008): 66–91. http://dx.doi.org/10.1017/s0667237808000059.

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Ifhigh culture, asTheodorAdornoonce proposed, promises a reality that does not exist, why, at the fin de siècle, did it hold such great attraction for Central Europe's populist politicians who were most attuned to the realities of everyday life? The answer, at least for imperial Austria, is that those politicians believed high culture to possess an integrative social function, which forced them to reconcile notions of “high” culture with “mass” culture. This was particularly true in Vienna, where the city's public performance venues for art, music, stage theater, and visual art stood as monuments to the values that the liberal middle classes had enshrined in the 1867 Constitution. A literate knowledge of this cultural system—its canon of symphonic music; the literature of tragedy, drama, and farce; and classical and contemporary genres of painting—was essential for civic participation in an era of liberal political and cultural hegemony. This article examines one cultural association that attempted to exploit the interaction between German high culture and two spheres, which are commonly thought to stand at odds with elite, high culture: popular culture and mass politics. Rather than a simple, cultural divide, this relationship created a contested “terrain of political and social conflict” in the decades preceding World War I. This terrain was of enormous consequence for Viennese of every social class.
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Özalpman, Deniz. "Transnational Viewers of Turkish Television Drama Series". Transnational Marketing Journal 5, nr 1 (1.05.2017): 25–43. http://dx.doi.org/10.33182/tmj.v5i1.386.

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Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries.
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Noe, Alfred. "DIE REZEPTION SPANISCHER DRAMEN AM WIENER KAISERHOF DES 17. JAHRHUNDERTS". Daphnis 30, nr 1-2 (30.03.2001): 159–218. http://dx.doi.org/10.1163/18796583-90000743.

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The study opens with an outline of the state of research concerning the reception of the Spanish drama at the imperial court of Vienna in the 17th century, the historical connections between the Spanish and the Austrian Habsburgs forming the starting point for a description of Emperor Leopold's I. literary interests as weH as the activities of his ambassador in Spain, Franz Eusebius count pötting. In particular, the Viennese representation of Calderón's Fineza contra fineza (1671) proves its importance by the editio princeps being realised in the imperial capital. The foHowing part of the study offers a chronological analysis of the 15 documented representations of Spanish dramas at the Viennese court. The reader will find short summaries of the identified plays as weH as references to tranlations, adaptations and similarities with contemporary works of imperial court poets.
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Protsiv, Lilija. "History of the Ukrainian Music Pedagogy: Viennese Meetings". Musical art in the educological discourse, nr 4 (2019): 59–65. http://dx.doi.org/10.28925/2518-766x.2019.4.8.

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The article substantiates the features of the history of musical pedagogy as meta-history, the content of which is immutable values, spiritual constants of mankind, as well as such phenomena as coincidence, meetings in time and space, their sign and symbolic interpretation. Along with people, cities are important participants in the complex drama of the Ukrainian history. They are spiritual and cultural centers important for the development of national culture and education. Many of them received symbolic names, for instance, Second Jerusalem (Kyiv), Chernihiv Athens, Galician Piedmont (Lviv, Galicia in general). Among the Western European cities, which have a leading role in the drama of national history and culture there is Vienna, “the golden apple of Europe”, a metropolis, at different times the political and artistic capital of Europe, and for many Ukrainians the juridical capital. Vienna holds the mission of the world’s city, which has summed up the experience of history and has become a stage of human drama, drama of events and nations. The cultural archetypes of Vienna, which finally determined the direction of further development of the European musical culture, include the works of “Viennese classics”, the era of Biedermeier, “Viennese waltz”, “Viennese secession”. Many significant events, real and symbolic meetings in the history of Ukrainian culture took place in Vienna. It was the Austrian capital, where a considerable part of the scientific and creative elite of Ukraine obtained European education. This was the place where the fighters for the Ukrainian statehood found political protection. The article briefly describes the activities of “the Ukrainian Viennese” Eusebius Mandychevsky and Serhiy Bortkevich, two artists, musicians, heroes of the national historical drama, representatives of different generations and regions, united by the time and space of the Ukrainian history and culture, whose life reflected the tragic fate of the people, took place transformation of the history into person’s destiny. The meta-history approach substantially expands and enhances the possibilities of traditional methodology. Sign and symbolic comprehension of the past requires highlighting spiritually significant processes in the development of history, their contrast, comparison, reading the “text” of historical events, the discovery of its “subtext”, which is “the semantic and vital awareness of being”.
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Schindler, Otto G. "Harlequin in Bohemia: Pantomime and Opéra Comique at Krumlov Castle under the Princes of Schwarzenberg". New Theatre Quarterly 19, nr 4 (8.10.2003): 366–80. http://dx.doi.org/10.1017/s0266464x03000253.

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In this article Otto G. Schindler provides an overview of research into the Castle Theatre at Český Krumlov, where theatrical entertainments are first recorded in the late seventeenth century, and adds some contributions of his own. After a short period of renewed activity in the rebuilt theatre inaugurated in 1768, benign neglect has preserved for us intact an authentic monument of late baroque theatre building. In the Castle Theatre, Hanswurst, traditionally the sole comic performer, formed part of a commedia-derived comic ensemble, and pantomimes regularly accompanied birthday celebrations until the late eighteenth century, when major travelling companies were visitors to the theatre, and opéra comique was also in vogue. Otto G. Schindler was University Assistant, Lecturer, and Head Librarian at the Drama Department of the University of Vienna, and has been a Research Fellow at the State University of New York. He was active in the Theatre Collection of the Austrian National Library and the Institute for Audience Research at the Austrian Academy of Science, where he is a member of its Commission for Cultural Studies and Theatre History. He has published extensively on Austrian and Central European theatre history with special reference to early modern theatre companies and the reception of commedia dell'arte. The festschrift Theatre am Hof und für das Volk (Vienna: Boehlau, 2002) was recently published in his honour.
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Gianvittorio-Ungar, Laura. "Narratives in Motion: the Art of Dancing Stories in Antiquity and Beyond". Greek and Roman Musical Studies 8, nr 1 (13.03.2020): 174–89. http://dx.doi.org/10.1163/22129758-12341367.

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Abstract The purpose of the symposium “Narratives in Motion. The Art of Dancing Stories in Antiquity and Beyond” was to make original contributions to the thriving field of study on ancient Greek and Roman dance by tackling this issue from an angle which is both specific in that it narrows down the focus on dance narrativity across different performance genres, and inclusive in that it encompasses transcultural, transhistorical and practice-based approaches. With eleven talks by classical and dance scholars and two performances by dance artists, the symposium was able to shed light on a range of practices, genres and cultural aspects relating to narrative dance in the ancient and, to a lesser degree, modern world. The event took place on 22-23 June 2018 at the Department of Classics of the University of Vienna, and was sponsored by the FWF-Austrian Science Fund (Project V442-G25 “Aischylos’ diegetisches Drama”).
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Fensham, Rachel. "Costumes and Choreography from Bodenwieser's Trunk: The Coat as Affective Memory". Dance Research 37, nr 1 (maj 2019): 89–110. http://dx.doi.org/10.3366/drs.2019.0255.

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The Viennese modern choreographer Gertrud Bodenwieser's black coat leads to an analysis of her choreography in four main phases – the early European career; the rise of Nazism; war's brutality; and postwar attempts at reconciliation. Utilising archival and embodied research, the article focuses on a selection of Bodenwieser costumes that survived her journey from Vienna, or were remade in Australia, and their role in the dramaturgy of works such as Swinging Bells (1926), The Masks of Lucifer (1936, 1944), Cain and Abel (1940) and The One and the Many (1946). In addition to dance history, costume studies provides a distinctive way to engage with the question of what remains of performance, and what survives of the historical conditions and experience of modern dance-drama. Throughout, Hannah Arendt's book The Human Condition (1958) provides a critical guide to the acts of reconstruction undertaken by Bodenwieser as an émigré choreographer in the practice of her craft, and its ‘materializing reification’ of creative thought. As a study in affective memory, information regarding Bodenwieser's personal life becomes interwoven with the author's response to the material evidence of costumes, oral histories and documents located in various Australian archives. By resurrecting the ‘dead letters’ of this choreography, the article therefore considers how dance costumes offer the trace of an artistic resistance to totalitarianism.
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Kovalets, Lidiia. "After all our Hryhoriy Kupchanko: an attempt to re-read the history of the ukrainian scholar, writer, public, cultural and political figure". History Journal of Yuriy Fedkovych Chernivtsi National University, nr 56 (30.12.2022): 30–47. http://dx.doi.org/10.31861/hj2022.56.30-47.

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The article makes an attempt to reconstruct the common history of works and days of Ukrainian scholar, writer, socio-political and cultural figure Hryhoriy Kupchanko (1849–1902), using, in particular, method of «reverse» optics, which means the examination of a particular individuality drama «from within». The attempt of reconstruction is largely determined by the attempt of the «Russian world» to present H. Kupchanko as «their own» – as a Moscowphile, as they say. The peculiarities (amount) of the apostasy to Moscowia of this representative of the elite stratum of the Bukovynian peasantry, the pupil of the appanage and Austrian civilization, the interconnection of the apostasy with the external factors, objective circumstances, as well as with subjective factors, the formation of contradictory views of the future scholar in his youth and different lines of his later behavior are elucidated. It turns out that historical fate of the Kupchanko’s family, consistent romanization that took place in Bukovyna in XIX century and led to principal staggering and deformations in the minds of young people in the period of formation of their personalities, worked on these contradictions. Decisive was the support of intellectual-creative efforts of H. Kupchanko by his gymnasium teacher – Bukovynian pedagogue and public figure I. Hlebovytsky and his supporters from Moscowophile circle, support which, maybe, had also a financial «equivalent» and promoted education of the University of Vienna. In the end, some psychological depths of the scholar's and writer’s personality also interfered, and the intensity of this life, the risks of activities, ambiguous relations with fellow countrymen, the extreme vulnerability of character, the complexity of personal destiny, etc., could have come from it.H. Kupchanko’s position in the Ukrainian nation-building process is interpreted not as purely Moscowphilia, but as Russophile. The pro-Ukrainian orientation of his efforts can be seen in his poetry and scholarly and popular studios, in particular those telling about Bukovyna and other eternal Rus (Ukrainian) lands. In fact it was a form of resistance to Moscowphilia and politics, although this author himself was not fully aware of. H. Kupchanko’s mistakes, however, reflected the general natural difficulties in the development of national self-consciousness, and without them there would be no advancement as such.The source base of the work was all available corpus of memoirs, biographical, scholarly, popular science, literature and fiction material relating to the subject, including the relevant archival documents.
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Hayes, Nancy P. "Dietmar Tatzl. “Secret, Black, and Midnight Hags”: The Conception, Presentation and Functions of Witches in English Renaissance Drama. Austrian Studies in English 93. Vienna: Wilhelm Braumüller Universitäts-Verlagsbuchhandlung, 2005. xvi + 440 pp. index. append. tbls. bibl. €34.90. ISBN: 3-7003-1532-5." Renaissance Quarterly 59, nr 4 (2006): 1306–7. http://dx.doi.org/10.1353/ren.2008.0501.

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Rozprawy doktorskie na temat "Vienna (Austria) – Drama"

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Markwart, Thomas. "Die theatralische Moderne Peter Altenberg, Karl Kraus, Franz Blei und Robert Musil in Wien /". Hamburg : Verlag Dr. Kovac, 2004. http://catalog.hathitrust.org/api/volumes/oclc/59081113.html.

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Książki na temat "Vienna (Austria) – Drama"

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E, Yates W., Fiddler Allyson i Warren John 1935-, red. From Perinet to Jelinek: Viennese theatre in its political and intellectual context. Oxford: P. Lang, 2001.

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Ernst, Eva-Maria. Zwischen Lustigmacher und Spielmacher: Die komische Zentralfigur auf dem Wiener Volkstheater im 18. Jahrhundert. Münster: Lit, 2003.

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editor, Schnödl Gottfried, red. Burgtheater, Schauspielkunst, Notizen zur neueren spanischen Literatur. Weimar: VDG, 2012.

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E, Yates W., i McKenzie, John R. P. 1940-, red. Viennese popular theatre: A symposium = Das Wiener Volkstheater : ein symposion. [Exeter]: University of Exeter, 1985.

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Shakespeare, William. Measure for Measure. Standard Ebooks, 2022.

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Drama Burgtheaterdirektion: Vom Scheitern des Idealisten Anton Wildgans. Wien: Herold, 1989.

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Yates, W. E. From Perinet To Jelinek: Viennese Theatre In Its Political And Intellectual Context (British and Irish Studies in German Language and Literature). Peter Lang Publishing, 2001.

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(Editor), W. E. Yates, Allyson Fiddler (Editor) i John Warren (Editor), red. From Perinet to Jelinek: Viennese Theatre in Its Political and Intellectual Context (British and Irish Studies in German Language and Literature). Peter Lang Publishing, 2001.

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Burckhard, Max. Theater: Bd. 1898-1901. Creative Media Partners, LLC, 2018.

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Jewish Difference and the Arts in Vienna: Composing Compassion in Music and Biblical Theater. Indiana University Press, 2019.

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Części książek na temat "Vienna (Austria) – Drama"

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Watanabe-O'Kelly, Helen. "Staging Empire as History and Allegory in Austria and Germany". W Projecting Imperial Power, 256–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198802471.003.0011.

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Theatrical presentations of the foundational myths of the Austrian and German empires, either as costumed processions and pageants or as specially commissioned plays for the theatre, were staged on anniversaries and important jubilees. In Austria, the most important was Franz Joseph’s Diamond Jubilee in 1908, when a pageant of 12,000 lay participants took place in Vienna, while other elements of the national myth were presented on the stage. Wilhelm II played an active part in promoting the imperial theatre festival in Wiesbaden between 1896 and 1914, for which parts of the Hohenzollern myth were dramatized. In 1897, on Wilhelm I’s hundredth birthday, Ernst von Wildenbruch’s Willehalm was performed in Berlin, a verse drama presenting Wilhelm I in allegorical form as the hero who rescued Germany from the evil French.
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Leeb, Claudia. "An Austrian Haus der Geschichte?: The Drama Continues". W The Politics of Repressed Guilt. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474413244.003.0006.

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This chapter exposes the defense mechanisms in the heated public debates about establishing a house of history in Vienna, from the time period from 2015 until the present, because such a museum would also display Austria’s Nazi past. The defense mechanisms underline the continuing inability of contemporary Austrians to live up to guilt, and that they advance any reason, no matter how ridiculous, to keep unconscious guilt feelings repressed. As a result, we are confronted with flawed judgments and the continuing failure of Austrians to work through their past. The debate around establishing a house of history in which scientists, university professors and politicians participate exposes that we find the lack of embodied reflective judgment particularly in the educated class.
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