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Les collections des arts du spectacle et leur traitement- Performing Arts Collections and Their Treatment

Congrès de Rome SIBMAS (2002)- SIBMAS Congress in Rome (2002)

Edited By Nicole Leclercq, Kristy Davis and Maria Teresa Iovinelli

Comment se compose la mémoire du spectacle ? Les bibliothèques et les musées s’attachant à l’entretenir ont parfois du mal à contenir une matière aussi multiforme. Chaque collection a son histoire, chaque institution a dû faire face à diverses difficultés. Dans cette mission, la technologie peut contribuer à approfondir la mémoire du spectacle et à élargir virtuellement à l’infini les espaces qui l’accueillent. Le congrès de la SIBMAS qui s’est tenu à Rome en 2002 témoignait d’une étape dans la réflexion suscitée par l’utilisation des nouvelles technologies dans les bibliothèques et les centres d’archives. Cet ouvrage en présente les communications.
How is the memory of a show evoked and brought back to life? Libraries and museums, by focusing on conservation, sometimes struggle to control the many details of the subject matter. Each collection has its own history and each institution has faced a multitude of difficulties. The aim of the papers put forward in this book is to illustrate how technology can help deepen the memory of each show and expand the virtually infinite spaces that keep them. The SIBMAS Congress held in Rome in 2002 represented a step forward in thinking about the use of new technologies in libraries and archives.


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CINQUIÈME PARTIE LE CATALOGAGE DES COLLECTIONS FIFTH PART CATALOGUING THE COLLECTIONS 173 Does TANDEM Still Exist? Claudia BALK, Petra KRAUS Deutsches Theatermuseum (München – Germany) What Remains of TANDEM in the New Developed Database Management of Archives? Introducing the Background from the Beginning of Electronic Archiving to a New Status Quo Those who have been members of SIBMAS for a lon g time and ha ve frequently a ttended it s c ongresses wi ll p erhaps st ill re member t he TANDEM project, which was conceived at the G erman Theatre Museum at t he e nd of th e 1 970s. T his w as accompanied by the vision t hat as many theatre collections as possible should catalogue their objects with an i dentical database stru cture, so t hat one day a h omogeneous a nd interchangeable data pool could be made available. This idea was just as captivating as the bas ic idea for t he data stru cture, which ga ve the project i ts na me: to lin k t wo dat abases by means of references fo r recording da ta on pro ductions a nd the objects re lating t o t hem. A ll information relating specifically to the production was to be entered into the production da ta fi le, and l inked t o this the r elevant information relating specifically to objects was to be entered into the other database. If, for exam ple, three...

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