Désirée Artôt de Padilla als Rosina, Rollenbild, in: Gioacchino Rossini, Il barbiere di Siviglia, Berlin: Victoria Theater

Signatur des Originals: S 36/G12721

Désirée Artôt de Padilla als Rosina, Rollenbild, in: Gioacchino Rossini, Il barbiere di Siviglia, Berlin: Victoria Theater

Signatur des Originals: S 36/G12722

Enrico delle Sedie als Figaro, Rollenbild, in: Wolfgang Amadeus Mozart: Il barbiere di Siviglia, Berlin: Victoria-Theater

Signatur des Originals: S 36/G12946

Das Theater.

Signatur des Originals: S 36/G13856

Das Theater zu Wiesbaden

Signatur des Originals: S 36/G03873

Das Theater in Wiesbaden.

Signatur des Originals: S 36/G13874

Thalia Theater, Frankfurt a. M., Innenansicht

Signatur des Originals: S 36/G14532

Thalia Theater, Frankfurt a. M., Innenansicht

Signatur des Originals: S 36/G14533

Braunschweiger Moden-Courier [Elektronische Ressource]] : Zeitschrift für Literatur, Kunst, Theater und Mode

Online-Ressource

La pedagogía del criterio desobediente/Pedagogy of Disobedient Criteria

Artículo de crítica de la arquitectura y la aplicación de ésta a la docencia de proyectos arquitectónicos.

Comparative analysis for the assessment of restoration treatments on stone material from the roman theater of Merida (Spain)

The overall goal of the project is the study of effects of conservation treatments applied on stone material from archaeological sites, i n terms of superficial changes, effectiveness and durability. In this sense, one of the first premises is characterize the surface of the treated and untreated material in order to determine changes in physical and chemical properties.

Contemplative Education CenterStage: Training the Mindful Performer

In the late 20th century and early 21st century, contemplative education/studies courses, concentrations, and initiatives have emerged in the academy. Although there has been significant discussion of postsecondary courses and programs that have integrated contemplative views and practices in the literature, there have been few studies of contemplative curricula and pedagogy in higher education. Additionally, there have been even fewer inquiries of the influence of contemplative education on performing arts training within conservatories and college and university departments. The aim of this qualitative study was two-fold: (1) to describe, interpret, and appraise the impact of contemplative education on the curricula of an interdisciplinary conservatory level performing arts program, MFA Contemporary Performance, at Naropa University; and (2) to disclose, compare, and analyze MFA student perceptions of the influence of contemplative education on their professional and personal development. The following questions guided this study: (1) How do faculty and students characterize contemplative education within the MFA in Theater: Contemporary Performance Program? (2) How does contemplative education impact the intended and operational curricula of courses within the MFA Contemporary Performance Program? (3) How do graduate students perceive the effects of contemplative education, offered by the MFA Contemporary Performance Program, on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives? Based on the research methodology of educational criticism and connoisseurship, this investigation provides a vivid description and interpretation of the intended and operational curricula of three core courses within the MFA program. These curricula were examined through five dimensions: intentional, curricular, pedagogical, structural, and evaluative. In order to shape our understanding of the contemplative and performative nature of the curricula, the significant and subtle qualities of the courses were further captured by preparation, context-building, reflective, showing, and closing conventions. Since the courses were grounded in postmodern view, they were evaluated according to Doll's criteria of richness, recursion, relations, and rigor for the evaluation of postmodern curricula. MFA first- and second-year students primarily characterized contemplative education as body/mind training for performance and personal development, sitting meditation, and cultivation of mindfulness and awareness. Student perceptions of the impact of contemplative education on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives, throughout the course of their two-year training, are presented in a dimensional analysis. The research reveals eight different themes that intersect the three core curricula and interviews with MFA students and faculty. These thematics include inclusivity, nowness, silence, improvisation, goodness, heart, training, and space. The beginning letter of each theme combines to form the acronym, insights. The framework of insights connects and illuminates the most potent aspects of MFA Contemporary Performance values and training.

Wahrnehmung und Identifikation im Theater

Theater berührt, Theater bewegt. Theater regt an: Wie ist es möglich, dass wir uns mit Figuren - seien es Schauspieler aus Fleisch und Blut, Puppen oder abstrakte Körper - auf der Bühne identifizieren. Das Gespräch dreht sich um Wahrnehmung und Vorstellung im Theater. Es fragt danach, wie das Publikum fähig ist, für Figuren Empathie zu entwickeln, Figuren zu lieben, zu hassen, mit Figuren zu leiden und sich Handlungen anzueignen, als ob sie real wären. Es will wissen, was im Menschen vorgeht, wenn er das tut, und was umgekehrt mit diesem Menschen passiert, wenn er sich einlenkt und einfühlt in das Geschehen auf der Bühne.