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Industria cinematográfica y política cultural
César A. Núñez
Experiments in Rhetorical Performance
Kimberly Eckel Beasley and James P. Beasley
Dramatism and Musical Theater: Experiments in Rhetorical Performance is an innovative workbook for both students and teachers in advanced communication performance. Meeting at the nexus of English composition, advanced rhetoric, theater, music, and drama, this book utilizes Kenneth Burke's method of dramatism to discover the motives inherent in performance practices, whether they be in the classroom or on the stage. In this book Kimberly Eckel Beasley and James P. Beasley take the five corners of the dramatistic pentad (act, scene, agent, agency, and purpose) and demonstrate their utilization in performance analysis. The authors then correlate those performance practices with the production of five contemporary musicals: Little Women, Aida, Street Scene, Into the Woods, and Children of Eden in order to emphasize the use of the dramatistic pentad in character, scene, and staging direction. By doing so, the book highlights dramatism as a performance practice necessary for effective participation in artistic communities.
Dramatism and Musical Theater: Experiments in Rhetorical Performance is also an indispensable guide for teachers and directors to successfully navigate the challenges of collegiate theatrical production.
Genesis and Fate
The genesis and genius of Bartók’s Concerto was mingled with his love for Stefi Geyer. As Hungarian Tristan pursuing his Isolde, he sounds allusions to Wagner’s paean of unfulfilled love. In transposing the ideal into the real, Bartók enlists folk sources voicing pristine truths of peasants. While biography and Tristan allusions supply the keys to Stefi’s Concerto, the Tristan grief motif serves as bridge from idealized romance to the pentatonic simplicity of peasant realism. In these tensions private love and public life, and esoteric romance and raw worldliness are provoked and reconciled. The rise and fall of living romance and its musical mirroring against peasant scales and rhythms is background to "Tristan" ruling a score that incites and resolves the clash of two conflicting worlds
Materialien zur ihrer Biographie
Edited by Helga Varadi and Dominik Sackmann
Der Band enthält in deutscher Übersetzung erstmals den gesamten Briefwechsel zwischen Stefi Geyer und Béla Bartók sowie Stefi Geyers Korrespondenz mit der Familie ihres Cousins mütterlicherseits.
A Life of Masks and Mirrors
Viennese-born actor Adolf Wohlbrück enjoyed huge success on both stage and screen in Germany during the 1920s and 1930s, becoming one of the first truly international stars. After leaving Nazi Germany for Hollywood in 1936, he changed his name to Anton Walbrook and then settled in Britain, where he won filmgoers’ hearts with his portrayal of Prince Albert in two lavish biopics of Queen Victoria. Further film success followed with Dangerous Moonlight and Gaslight, several collaborations with Michael Powell and Emeric Pressburger – including his striking performance as Lermontov in The Red Shoes – and later work with Max Ophuls and Otto Preminger.
Despite great popularity and a prolifi c career of some forty fi lms, alongside theatre, radio and television work, Walbrook was an intensely private individual who kept much of his personal life hidden from view. His reticence created an aura of mystery and «otherness» about him, which coloured both his acting performances and the way he was perceived by the public – an image that was reinforced in Britain by his continental background.
Remarkably, this is the first full-length biography of Walbrook, drawing on over a decade of extensive archival research to document his life and acting career.
Edited by Stefanie Acquavella-Rauch and Birger Petersen
Komponieren – im Sinne eines Entwerfens und Entwickelns von Musik als Schreibvorgang und gedanklicher Prozess – ist direkt verbunden mit einem jeweils spezifischen neuzeitlichen Künstlerbild und Kunstbegriff. Dieser Band hat zum Ziel, die musikalische Skizzenforschung aus der unmittelbaren Verbindung zur philologischen Erschließung von Werkgenesen zu lösen und in den größeren Kontext einer Schreib- und Kreativitätsforschung zu stellen. Bezogen auf die drei Schwerpunkte Schriftbildlichkeit, Rekonstruktion des musikalischen Denkens und interdisziplinärer Methodendiskurs werden neue Ansätze für die Musik des langen 19. Jahrhunderts diskutiert. Übergeordnet soll der Band dazu beitragen, das Studium der Skizzen als eine als Problemgeschichte des Komponierens zu definierenden Kulturgeschichte musikalischen Schaffens formulieren zu können.