3,524 research outputs found
Brecht and China : a mutual response
No full textThis thesis deals with the cross-cultural relations between Brecht and China
through an analysis of how Brecht responded to the traditional Chinese theatre and
how his drama was received in turn by modern Chinese theatre. It attempts to
examine the respective socio-cultural or political contexts wherein such kind of crosscultural
contacts were needed, and the consequent aesthetic-theatrical as well as
socio-cultural or political changes brought about by these contacts that have produced
two distinctively independent yet related forms of theatre.
It is argued that Brecht's search for a theatre style of his own amidst the sociocultural
as well as political crises between the two world wars made him look to the
East for inspirations, and his direct encounter with Mei Lanfang enabled him to
interpret the latter's acting in such a way that he responded to it with his postulation of
the alienation effect and modification of a gestic performance style. His repudiation
of the well-made dramatic theatre brought his epic theatre closer to the traditional
Chinese theatre whose aesthetic principles he shared in constructing a non-
Aristotelian episodic form of drama. In his experimentations with new modes of
theatrical expressions, he did not simply borrow or copy the forms and content of
classical Chinese drama; he appropriated, transformed and renewed them, for
example, in The Caucasian Chalk Circle, for the particular purpose of instructing
audiences in a scientific age.
China! s reception of Brecht has had much to do with the country's changing
socio-cultural as well as political situations. Chinese theatre practitioners responded
to him because he was a politically, culturally and aesthetically suitable figure. His
epic drama provided an alternative style for the Chinese in their attempt to innovate
their realist spoken drama imported from the West, and was also introduced into local
forms of performing arts in hope that the traditional Chinese theatre could be
resurrected. Furthermore, he prompted Huang Zuolin to theoretically re-examine
Chinese operas, which the latter integrated with techniques of Brecht and
Stanislavsky into spoken drama to establish a new theatre style called Xieyi drama
Unternehmensfallen gefährden etablierte Geschäftsmodelle
No full textUnternehmen tappen häufig in Fallen, die ihr Geschäftsmodell gefährden. Welche das sind und wie diese so genannten Traps umschifft werden können, beschreiben die Gastautoren Daniel Schallmo und Leo Brecht
Leo Kerz Collection 1959-1970
No full textAll originals materials are kept in the Harvard Theatre Collection at the Houghton LibraryPostcards showing stage designs by Leo KerzTypescripts (copies) of stage plays in English translation by Bert Brecht, Friedrich Dürrenmatt, Eugene Ionosco, Georg Kaiser, Leonard Lesley, and Martin Walser, translated and/or adapted by Leo Kerz; 1959-1970Three original watercolors (?) of stage designs removed to the LBI Art and Objects CollectionLeo Kerz (1912-1976) was born in Berlin, Germany, where he began his career as a stage designer. He escaped Nazi Germany in 1933, living in the Netherlands, in the United Kingdom and in South Africa, before immigrating to the US in 1941, where he became an acclaimed scenic and lighting designer on Broadway. He was married to Louise Kerz, who later married Al Hirschfeld in 1996.Processeddigitize
Letter from Simeon Leo to his father
No full textLetter from Simeon Leo, Esq. to his father on paper torn from a notebook. Written in broken English.Digital imag
A bibliometric technique for quantitative technology foresight
No full textThis cumulative dissertation addresses the intersection between technology and innovation management – in particular technology foresight – and bibliometrics
Portrait of Hans Sahl
No full textThree quarter profile portrait of the German writer Hans Sahl.Digital imageEstate of the artist.The German Jewish author and poet Hans Sahl was born in 1902 in Dresden. He fled Nazi Germany for France and then immigrated to the United States, where he gained success as a translator of American authors. Sahl returned to Tübingen in 1990, where he died in 1993.Leo Glueckselig was born in Vienna in 1914. He studied architecture and worked as an interior designer. He left Austria with his family in 1938 and immigrated to New York, where he worked as a graphic designer and illustrator. He was part of the Oskar-Maria-Graf Stammitsch. Since 1999 his artwork has been exhibited in Vienna, Salzburg, New York, Washington, and Graz. Leo Glueckselig died in New York in 2003. His brother was the poet Friedrich Bergammer (Fritz Glueckselig)
Ktētōr and Synthesis: Epigrams, Miniatures, and Authorship in the Leo Bible
No full textThesis (Master's)--University of Washington, 2014The Leo Bible (Rome, Vat. Reg. Gr. 1) is an illuminated Old Testament produced in Byzantium during the mid-tenth century. Presented as a gift to a monastery of St. Nicholas by Leo Sakellarios, a court eunuch and palace treasurer, the Bible is the only surviving manuscript of its kind from Byzantium. Known for its luxurious epigrams and miniatures, the Leo Bible's classicizing miniatures are frequently cited as exemplars of tenth-century Byzantine art, although the manuscript is rarely considered as whole. This study takes a new approach to the Leo Bible, focusing on the manuscript as a work of visual and poetic exegesis, in which word and image work together to frame the Old Testament in a Christian context. Beyond its exegetical nature, the Leo Bible also demonstrates a marked interest in the theme of authorship. By considering Byzantine notions of authorship in conjunction with the Bible's visual and epigrammatic program, this study offers new insights into the concept of patronage in Byzantium and the means by which patrons constructed their image and legacy through their commissions. In the case of the Leo Bible, this study will address how Leo Sakellarios is understood to be the author of the manuscript and its exegetical commentary, and how this act of authorship is reflected in the Bible's visual and poetic programs
Weihnachtsgeschichten von Charles Dickens bis Bertolt Brecht
No full textInhaltsverzeichnis: Charles Dickens: Ein Weihnachtslied in Prosa Guy de Maupassant: Weihnachtsgeschichte Alphons Daudet: Die drei stillen Messen Michael Saltykow-Schtschedrin: Ein Weihnachtsmärchen Adalbert Stifter: Bergkristall Leo Tolstoi: Wo Liebe ist, da ist Gott Selma Lagerlöff: Die Heilige Nacht O. Henry: Das Geschenk der Weisen Bertolt Brecht: Das Paket des lieben Gottes
Leo Katz as an author of children’s books. A failed attempt?
No full textDas Ziel dieses Beitrags ist es, Leo Katz als Kinderbuchautor zu betrachten und darüber
nachzudenken, welche Rolle seine Jugendbücher in seinem gesamten Werk und in der
Geschichte der deutschsprachigen Kinder- und Jugendliteratur spielen. Es werden nicht
nur seine veröffentlichten Kinderbücher betrachtet, sondern auch andere
unveröffentlichte Jugendromane, die unbekannt bzw. unpubliziert geblieben sind.
Um den Autor aus der Vergessenheit zu holen, werden unter anderem die nicht
bekannten Werke des Autors für Jugendliche vorgestellt und es wird überlegt, weshalb
sie damals nicht veröffentlicht wurden.Stadt Wien KulturDepto. de Filología Alemana y Filología EslavaFac. de Comercio y TurismoTRUEpu
Dragonfly Books
No full textMore pictures here than in my Frederick's Fables (1985), but the colors are not as lively. I catch one slight change from Alexander to he. This is a marvelous story of love and of dreams come true. Bravo, Alexander, and bravo, Leo!Leo Lionn
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