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’ becomes a way of living, connecting with a community of fellow participants. Within the vision and making art, the power of the personal image, the opportunity to conceptually define the world is undertaken by all and not placed solely in the hands of the professional artist or the academic elite who

In: Activating the Inanimate: Visual Vocabularies of Performance Practice

CHAPTER TWO THE MECHANISMS OF TAKARAZUKA 白雲なびく六甲の Blessed by the palm greens of the Rokkō 松のみどりにいや映えて Mountains with fl oating clouds, 山秀麗の生を享く Given a life of natural beauty, 我らは乙女学舎は Our school of the maidens, 歌劇の国の宝塚 Takarazuka of the opera world, 歌劇の国の宝塚 Takarazuka of the opera world. Part

In: A History of the Takarazuka Revue Since 1914

end, he truncated the story and concluded it in sinai rather than in the promise land, for a play based on the exodus from egypt was a very daring subject-matter for a writer living in egypt.10 ezekiel cleansed the story from subversive insinuations, primarily that jews desire national

In: Jews and Theater in an Intercultural Context

in general is tantalising in its incompleteness. Authentic reconstruction would be an impossible task, and we have not attempted it. Instead, we have operated by analogy; and in turning for the choreography to the dance styles of Java, we were motivated not so much by a desire simply to experiment

In: Choreonarratives

theatre, exhibitions and one-day trips from Tokyo by aeroplane! THE MODERN HERITAGE OF GIRLS’ CULTURE AND BEYOND 175 and given the fact that there was no heir, the king decided to raise his daughter as a boy, pretending she was a prince. Living such a falsifi ed life, there was little time for

In: A History of the Takarazuka Revue Since 1914
Author: Michael Spencer

current practice, and an analysis of the forces which are driving and motivating the next generation of visual performance makers. The notion that Theatre Design, in the post-Craig traditional sense, is a discipline of rejection is articulated in light of these emerging practices. Changes in pedagogic

In: The Visual in Performance Practice
Author: Nina Geerdink

to decode the play as a narration of the real-life drama of Oldenbarnevelt. In historiography too, Palamedes has been regarded as an allegory. Th e focus, however, has been specifi cally on the alle gorical meaning of the play and the attempt to conceal this meaning. Such an approach does not

Open Access
In: Joost van den Vondel (1587-1679)
Author: Edna Nahshon

(1826–1884). Although born a Jew, later in life, he became a man of fuzzy religious allegiance. Fifty years later, in 1929, impresario morris Gest (1875–1942), irrefutably Jewish, produced the Freiburg Passion Play at New York City’s Hippodrome. Although five decades separate the two enterprises

In: Jews and Theater in an Intercultural Context

theatricalization in Baroque political regimes is the dependence of princes on their audiences. Indeed, Don Pio Rossi emphasized ‘living a theatrical life’ (‘vivere una vita da teatro’) among the ‘many miseries which accompany the greatness of the prince’, precisely because the great were always ‘in the view of a

Open Access
In: Politics and Aesthetics in European Baroque and Classicist Tragedy

traditional ideas. They often fl aunted convention. Nora, as a New Woman of the pre- ceding generation, had tried to be an independent human being, but modern girls were already human. This is where their life and characteristics lay.4 ‘Modern girls’ were not just well-to-do, educated ladies, but could

In: A History of the Takarazuka Revue Since 1914