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The name Florenz Ziegfeld Jr. (1867-1932) is synonymous with the decadent revues that the legendary impresario produced at the turn of the twentieth century. These extravagant performances were filled with catchy tunes, high-kicking chorus girls, striking costumes, and talented stars such as Eddie Cantor, Fanny Brice, Marilyn Miller, W. C. Fields, and Will Rogers. After the success of his Follies, Ziegfeld revolutionized theater performance with the musical Show Boat (1927) and continued making Broadway hits -- including Sally (1920), Rio Rita (1927), and The Three Musketeers (1928) -- several of which were adapted for the silver screen. In this definitive biography, authors Cynthia Brideson and Sara Brideson offer a comprehensive look at both the life and legacy of the famous producer. Drawing on a wide range of sources -- including Ziegfield's previously unpublished letters to his second wife, Billie Burke (who later played Glinda the Good Witch in The Wizard of Oz), and to his daughter Patricia -- the Bridesons shed new light on this enigmatic man. They provide a lively and well-rounded account of Ziegfeld as a father, a husband, a son, a friend, a lover, and an alternately ruthless and benevolent employer. Lavishly illustrated with over seventy-five images, this meticulously researched book presents an intimate and in-depth portrait of a figure who profoundly changed American entertainment.
Theatrical producers and directors --- Ziegfeld, Flo, --- Ziegfeld, Florenz, --- Ziegfeld, F.
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Choreographic collaboration. --- Dance --- Dramaturges. --- Choreography --- Collaborative choreography --- Artistic collaboration --- Dance production --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- Dramaturgs --- Literary managers (Theater) --- Theatrical producers and directors --- Production and direction. --- Technique. --- Collaboration --- Direction
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Walter Benjamins »Programm eines proletarischen Kindertheaters« (1929), das nicht nur durch die Kindertheaterarbeit von Asja Lacis und der russischen Theateravantgarde, sondern auch von Untersuchungen zum barocken Trauerspiel sowie zum Theater Bertolt Brechts inspiriert wurde, beschreibt einen von Autorität und Hierarchie befreiten Spiel- und Übungsraum, der gerade dem kindlichen Erleben und Verhalten entgegenkommt. Vor dem Hintergrund des bisher eher unentdeckten Motivs der Straße im Denken Walter Benjamins stellt Karin Burk die spielerische, dem Kind eigentümliche Idee seines Kindertheaters heraus: Auf prätheatralische Formen zurückgreifend steht es dem Karneval und der Performance nahe, was seine revolutionäre Invention unterstreicht. »The great strengh of Burk's study consists in the meticulous care she takes to unravel the conceptual vocabulary that permeates the thinking and practice of all three vanguardists, and the new intratextual trajectories she identifies in the thought of Benjamin.« Phoebe von Held, Das Brecht-Jahrbuch, 42 (2018) »Spannend [besonders] da, wo man Anklänge und das Erbe der russischen Avantgarde und dessen, was Benjamin in seiner Programmschrift fordert, in der heutigen Kinder- und Jugendtheaterarbeit erkennt.« www.samtundselters.de, 11.07.2016 »Die Publikation ist insbesondere für Theaterwissenschaftler, Theaterpraktiker, Kulturschaffende insgesamt sowie in Teilen auch Pädagogen oder Erziehungswissenschaftler eine Fundgrube vielfältiger Reflexionen und Verweise quer durch die Kultur-, Kunst- und Theatergeschichte, die bis in heutige performative Theaterpraktiken und aktuelle Überlegungen zur frühkindlichen Erziehung hineinreichen.« Bettina Brandi, www.socialnet.de, 28.06.2016 Besprochen in: Zeitschrift für Theaterpädagogik, 10 (2016), Florian Vaßen Das Brecht-Jahrbuch, 42 (2018), Phoebe von Held
Agitprop theater --- Children's theater --- Experimental theater --- Kindertheater. --- Socialism and theater --- Theater critics --- Theater --- Theatrical producers and directors --- Workers' theater --- Influence. --- History --- Political aspects --- Production and direction --- Benjamin, Walter, --- Brecht, Bertolt, --- Lācis, Anna, --- Lācis, Asja, --- Russland. --- Asja Lacis. --- Bertolt Brecht. --- Critical Theory. --- History of Theatre. --- Kritische Theorie. --- Russian Avant-garde. --- Russische Avantgarde. --- Theater. --- Theatergeschichte. --- Theaterwissenschaft. --- Theatre Studies. --- Theatre. --- Walter Benjamin. --- PERFORMING ARTS / Theater / History & Criticism. --- Lācis, Anna, --- Labor theater --- Proletariat theater --- Theater and socialism --- Alternative theater --- Avant-garde theater --- Children's dramatics --- Children's plays --- Theater for children --- Theater for young people --- Young people's theater --- Presentation, etc. --- Lacis, Asja, --- Lāce, Anna, --- Lat︠s︡is, A. --- Lat︠s︡is, Anna, --- Benjamin, W. --- Kindertheater; Theater; Asja Lacis; Russische Avantgarde; Bertolt Brecht; Walter Benjamin; Theaterwissenschaft; Theatergeschichte; Kritische Theorie; Theatre For Children; Theatre; Russian Avant-garde; Theatre Studies; History of Theatre; Critical Theory --- Brecht, Berthold Friedrich --- Brecht, Bertolt. --- Brecht, Bertholt --- Brecht, Bert --- Brecht, Eugen Berthold Friedrich --- Benjamin, Walter --- Holz, Detlef, --- Banyaming, --- Benʼyamin, Varutā, --- Peñcamin̲, Vālṭṭar, --- Binyamin, Ṿalṭer, --- בנימין, ולטר --- בנימין, ולטר, --- ולטר, בנימין, --- Penyamin, Palt'ŏ, --- 벤야민 발터,
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