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Music-halls (Variety-theaters, cabarets, etc.) --- Performing arts --- Popular culture --- Cabarets --- Arts du spectacle --- Culture populaire --- History --- Histoire --- Music-halls (Variety-theaters, cabarets, etc.) - History - 19th century --- Music-halls (Variety-theaters, cabarets, etc.) - History - 20th century --- Performing arts - History - 19th century --- Performing arts - History - 20th century --- Popular culture - History - 19th century --- Popular culture - History - 20th century
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"Ce volume délimite les périmètres qu'épousent les formes spectaculaires en explorant les frontières de ce qui fait spectacle. Il les décrit et détaille les régimes qui leur donnent vie en brossant l'histoire des communautés spectaculaires qui, dans la durée, "font et refont leurs états mentaux", pour parler comme Durkheim. Inscrites dans le continuum des pratiques sociales et dans l'histoire, ces formes ne se regroupent pas en idéaux-types aisément identifiables. La description s'attache ainsi aux situations et dispositifs borderline qui ne rentrent pas strictement dans les définitions ordinaires de cette forme. D'où une attention particulière portée aux expositions industrielles, aux interactions urbaines ordinaires; à la messe télévisée ou à l'opéra hors les murs, ou encore aux opérations conduisant à renouveler ou à déplacer la forme spectacle - la prédation, les iconoclasties médiatiques. Est également interrogée la parenté des formes spectaculaires contemporaines avec les rituels républicains, avec les dispositifs anciens ou extra-européens auxquels nous accolons rétrospectivement l'étiquette "spectacle". Articulé en trois parties, l'ouvrage explore, grâce à la contribution d'anthropologues, d'historiens et de sociologues, les régimes de spectacle en leurs diversités tout en questionnant leurs fondements. Il met ensuite en lumière leurs formes critiques pour proposer enfin une anthropologie des dispositifs spectaculaires numériques."--Page 4 of cover.
Arts du spectacle -- Anthropologie --- Arts du spectacle --- Anthropologie --- Sociologie --- Aspect politique --- anthropologie culturelle --- arts du spectacle --- sociologie --- Performing arts --- Social aspects --- History --- Social aspects. --- History. --- Performing arts - Social aspects --- Performing arts - History
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Body, Human, in literature --- Body, Human, in motion pictures --- Human figure in art --- Body, Human in the performing arts --- History --- Arts, Modern --- Cyborg. --- Kunst. --- Kunstmatig leven. --- Literatuur. --- Menselijk lichaam. --- Arts, Modern. --- Human body in literature. --- Human body in motion pictures. --- Human figure in art. --- Künste. --- Künstlicher Mensch. --- Literatur. --- 1800-1999. --- Body, Human, in literature - History - 19th century --- Body, Human, in literature - History - 20th century --- Body, Human, in motion pictures - History - 19th century --- Body, Human, in motion pictures - History - 20th century --- Human figure in art - History - 19th century --- Human figure in art - History - 20th century --- Body, Human in the performing arts - History - 19th century --- Body, Human in the performing arts - History - 20th century
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Jusqu'au XIXe siècle, l'auteur et l'acteur régnaient sur la scène. Ce n'est qu'autour de 1880 que le metteur en scène s'impose à leur côté et avec lui, un art nouveau, la mise en scène. Mais comment faisait-on avant, pour ordonner la pratique de la scène et lui donner sens et poésie ? C'est à cette question, adressée au théâtre de toute l'Europe, que ce livre veut répondre. Les études ici réunies dessinent les prémices véritables du théâtre d'aujourd'hui.
Theatrical science --- anno 1600-1699 --- anno 1700-1799 --- anno 1800-1899 --- Europe --- Theater --- Théâtre --- Production and direction --- History --- Production et mise en scène --- Histoire --- Europe - Theater - Performing arts - History - 17th-19th century --- History. --- Théâtre --- Production et mise en scène --- Theater - Production and direction - Europe --- Theater - History
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theater --- Theatrical science --- Belgium --- Périodiques --- Théâtre --- Tijdschriften --- Toneel --- Experimental theater --- Performing arts --- Théâtre expérimental --- Arts du spectacle --- Periodicals --- History --- Histoire --- #TS:KOMA --- Théâtre expérimental --- Périodiques --- Performing arts. --- Performing arts - History - 20th century - Periodicals --- Performing arts - Belgium - History - 20th century - Periodicals --- Experimental theater - Periodicals
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This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Mauro Calcagno focuses on the works of Claudio Monteverdi, a master of both genres, to investigate how they reflect changing ideas about performance and role-playing by singers. Calcagno traces the roots of dialogic subjectivity to Petrarch's love poetry arguing that Petrarchism exerted a powerful influence not only on late Renaissance literature and art, but also on music. Covering more than a century of music and cultural history, the book demonstrates that the birth of opera relied on an important feature of the madrigalian tradition: the role of the composer as a narrative agent enabling performers to become characters and hold a specific point of view.
Petrarchism. --- Monteverdi, Claudio, --- Love poetry, European --- Monteverdi, Claudio --- Opera. --- Madrigals --- History and criticism. --- Madrigals - History and criticism. --- Monteverdi, Claudio, - 1567-1643. - Operas. --- Monteverdi, Claudio, - 1567-1643. - Madrigals. --- art and poetry. --- classical music. --- composer history. --- early modern period. --- european history. --- european poetry. --- history of opera. --- italian culture. --- italian history. --- italian music. --- italian poetry. --- italy and music. --- live entertainment. --- madrigral history. --- modern music studies. --- music and performance. --- music history. --- opera books. --- opera composers. --- opera music. --- performance studies. --- performing arts history. --- performing arts. --- renaissance art. --- renaissance literature. --- renaissance period. --- theater. --- theatre. --- vocal music.
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In the first musicological study of Kurt Weill's complete stage works, Stephen Hinton charts the full range of theatrical achievements by one of twentieth-century musical theater's key figures. Hinton shows how Weill's experiments with a range of genres-from one-act operas and plays with music to Broadway musicals and film-opera-became an indispensable part of the reforms he promoted during his brief but intense career. Confronting the divisive notion of "two Weills"-one European, the other American-Hinton adopts a broad and inclusive perspective, establishing criteria that allow aspects of continuity to emerge, particularly in matters of dramaturgy. Tracing his extraordinary journey as a composer, the book shows how Weill's artistic ambitions led to his working with a remarkably heterogeneous collection of authors, such as Georg Kaiser, Bertolt Brecht, Moss Hart, Alan Jay Lerner, and Maxwell Anderson.
Musical theater --- Lyric theater --- Theater --- History --- Weill, Kurt, --- Ṿail, Ḳurṭ, --- Weil, Kurt, --- Weill, Kurt --- וייל, קורט --- Criticism and interpretation. --- 20th century composers. --- 20th century music. --- 20th century musical theater. --- 20th century opera. --- american entertainment. --- american music. --- american musical theater. --- broadway musicals. --- european history. --- european musicals. --- european opera. --- european theater. --- famous composers. --- german composer. --- historic composers. --- history of broadway. --- history of opera. --- history of theater. --- music and theater. --- music studies. --- musical composers. --- musical fans. --- musical lovers. --- musicological study. --- performing arts history. --- theatre biographies.
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In the past decade digital media has been increasingly incorporated into live theater and dance, and forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. This text traces the evolution of these practices, and presents accounts of key practitioners and performances
Telecommunication technology --- Art --- Theatrical science --- anno 1900-1999 --- Technology and the arts. --- Digital media. --- Arts, Modern --- Performing arts --- Technologie et arts --- Médias numériques --- Arts --- Arts du spectacle --- History --- Histoire --- Technology and the arts --- Digital media --- Steve Dixon --- kunst --- nieuwe media --- digitale media --- cybercultuur --- virtual reality --- kunst en technologie --- installaties --- dans --- performances --- theater --- scenografie --- 791.5 --- 7.039 --- 792 --- Médias numériques --- Média --- Théâtre --- Danse --- Performance --- Performance-art --- Installation-art --- Art numérique --- Show business --- Performance art --- Electronic media --- New media (Digital media) --- Mass media --- Digital communications --- Online journalism --- Arts and technology --- DIGITAL HUMANITIES & NEW MEDIA/New Media Art --- ARTS/Performance Studies/General --- ARTS/Art History/General --- Arts, Modern - 20th century --- Performing arts - History - 20th century
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This book introduces readers to the texts and imagery of the Dance of Death, a subject that first emerged in western European art and literature in the late medieval era. Depicting a long procession of representatives of different classes and ages, seized by prancing skeletons, the Dance eloquently communicated the message of the inevitability of death and the futility of human ambition. The image was frequently accompanied by verses, written in the vernacular, which comprised a dialogue between Death and its victims. The volume inquires into the theological, socio-historic, literary and artistic contexts of the Dance of Death, exploring it as a site of interaction between text, image and beholder. The first part of the book outlines the structures of visual, textual, aural, pastoral and performative discourses that informed the creation and reception of the Dance of Death images. The second part proposes different modes of viewing for four particular Dance of Death paintings, each of which—shaped by its artist, patron, local context and local audience—offered the beholder an active, kinesthetic experience necessarily predicated on movement.
History of civilization --- art history --- dodendans --- Iconography --- anno 500-1499 --- Dance of death --- Danse macabre --- Death in art --- Dodendans --- Dood in de kunst --- Mort dans l'art --- Christian art and symbolism --- iconografie --- Dood --- geschiedenis --- middeleeuwen --- Holbein, Hans (De Oude) --- 15de eeuw --- Dance of death in art --- Dance of death in literature --- Art, Medieval --- Literature, Medieval --- Performing arts --- Themes, motives --- History --- 7.045 --- 091.31:7.04 --- 091:393 --- Iconografie: allegorieen; symbolen; dodendansen; emblemata --- Verluchte handschriften: iconografie --- Handschriftenkunde. Handschriftencatalogi-:-Dood. Dodengebruiken. Dodenritueel. Lijkverbranding. Begrafenis. Crematie. Rouw. Opbaren. Lijkstoet. Sterven. Dodenmaskers --- 091:393 Handschriftenkunde. Handschriftencatalogi-:-Dood. Dodengebruiken. Dodenritueel. Lijkverbranding. Begrafenis. Crematie. Rouw. Opbaren. Lijkstoet. Sterven. Dodenmaskers --- 091.31:7.04 Verluchte handschriften: iconografie --- 7.045 Iconografie: allegorieen; symbolen; dodendansen; emblemata --- Show business --- Arts --- Performance art --- Death, Dance of --- Subjects --- Art [Medieval ] --- Literature [Medieval ] --- To 1500 --- middeleeuwen, middeleeuwse geschiedenis (historisch tijdvak) --- Art, Medieval - Themes, motives --- Literature, Medieval - Themes, motives --- Performing arts - History - To 1500 --- dodendans. --- iconografie. --- Dood. --- geschiedenis. --- middeleeuwen, middeleeuwse geschiedenis (historisch tijdvak). --- Holbein, Hans (De Oude). --- 15de eeuw. --- Moyen âge
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