Results for 'Palace Theatre'

981 found
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  1.  16
    El sueño dorado de Isabel II: Instauración y declive del Teatro de Palacio (1849-1851).Sara Navarro Lalanda - 2012 - Human Review. International Humanities Review / Revista Internacional de Humanidades 1 (2).
    La presente investigación centra su interés en el estudio del Teatro de Palacio instaurado por Isabel II en 1849, fundamentalmente a través del análisis de fuentes hemerográficas inéditas; anuncios, ensayos y crónicas difundidas al público general que, complementadas con fuentes docu-mentales tanto del Real Conservatorio Superior de Música de Madrid como del Archivo General de Palacio, nos permitirán profundizar en la infraestructura, intérpretes, representaciones y público de este "teatrino" real hasta su desaparición definitiva en 1851, en que los restos de (...)
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  2. Contemporary perspectives.on Sartre’S. Theater & Dennis A. Gilbert - 2010 - In Adrian Mirvish & Adrian Van den Hoven, New perspectives on Sartre. Newcastle upon Tyne: Cambridge Scholars Press.
     
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  3.  73
    Andrianou, Dimitra. The Furniture and Furnishings of Ancient Greek Houses and Tombs. Cambridge: Cambridge University Press, 2009. xvi+ 213 pp. 24 black-and-white figs. Cloth, $80. Andrisano, Angela Maria, and Paolo Fabbri, eds. La favola di Orfeo: Letteratura, immagine, performance. Ferrara: UnifePress, 2009. 255 pp. 41 black-and-white. [REVIEW]Victor Bers, Rachel Bowlby, Claude Calame, Viccy Coltman, Katharina Comoth & Joan Breton Connelly - 2010 - American Journal of Philology 131 (2):345-347.
    In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAndrianou, Dimitra. The Furniture and Furnishings of Ancient Greek Houses and Tombs. Cambridge: Cambridge University Press, 2009. xvi + 213 pp. 24 black-and-white figs. Cloth, $80.Andrisano, Angela Maria, and Paolo Fabbri, eds. La favola di Orfeo: Letteratura, immagine, performance. Ferrara: UnifePress, 2009. 255 pp. 41 black-and-white figs. Paper, €15.Bartsch, Shadi, and David Wray, eds. Seneca and the Self. Cambridge: Cambridge University Press, 2009. ix + 304 pp. 1 (...)
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  4.  1
    (1 other version)Illusions of grandeur : a harmonious garden for the Sun King.Robert Neuman - 2010 - In Fritz Allhoff & Dan O'Brien, Gardening - Philosophy for Everyone: Cultivating Wisdom. Wiley-Blackwell. pp. 161–177.
    This chapter contains sections titled: A Temple of Apollo Quoting the Roman Garden Villa Harmonic Proportions The Sculptural Program Expanding the Theme of Harmony Notes.
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  5. Appeal in respect of the warsaw scarp.Radziwill Palace, Ujazdow Castle, Belvedere Palace & Krolikarnia Palace - 1998 - Dialogue and Universalism 8 (7-12):43.
     
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  6.  39
    Deborah Beck. Speech and Presentation in Homeric Epic. Austin: University of Texas Press, 2012. Pp. x, 256. $55.00. ISBN 978-0-292-73880-5. [REVIEW]Cassandra Borges, C. Michael Sampson, Kathryn Bosher, Theater Outside Athens, L. Rodrígo-Noriega Guillén, D. G. Smith, A. Duncan, S. S. Monoson, C. Marconi & S. Vassallo - 2013 - Classical World: A Quarterly Journal on Antiquity 106 (2):303-309.
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  7.  14
    Social Theater as an Inclusive Educational-Educational Device.Paolina Mulè - 2022 - Human Review. International Humanities Review / Revista Internacional de Humanidades 11 (3):1-16.
    In this short essay the A. intends to analyze the scientific coordinates of social theater as a pedagogical-didactic device in an inclusive perspective for the development of the intellectual welfare of communities in the 21st century. The reference model is that of Inclusive Education, which represents, as Unesco has specified several times, a true guideline in the field of education, education and training; it develops through the guiding principles of equality, social justice, freedom, the right to citizenship, the right to (...)
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  8. Platonos Kai Xenophontos Symposia. Ploutarchou Symposion Hepta Sophon. Loukianou Symposion E Lapithai. Plato, Xenophon, Plutarch, Lucian & Sheldonian Theatre - 1711 - Ek Theatrou En Oxonia, Etei.
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  9. A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition.Martijn Boven - 2018 - In Eric Ziolkowski, Kierkegaard, Literature, and the Arts. Evanston, Illinois: Northwestern University press. pp. 115-130.
    In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...)
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  10.  14
    The Theater of Politics: Hannah Arendt, Political Science, and Higher Education.Eric B. Gorham - 2000 - Lexington Books.
    For Hannah Arendt, creating a durable, civil public world was of utmost importance. Though many have discussed Arendt's relevance to the contemporary work of politics, Eric Gorham is the first to examine her ideas of the "space of appearance" in the context of the university classroom. In The Theater of Politics, Gorham examines in detail Arendt's dramaturgical theory of politics and her method of political criticism and maintains that politics can be observed in the classroom, in which students are future (...)
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  11.  1
    Autonomous Theater: Theory Into Practice.John S. Halstead - 1987
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  12.  12
    Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States.Magdalena Szuster - 2019 - Text Matters - a Journal of Literature, Theory and Culture 9 (9):374-392.
    It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used (...)
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  13.  14
    Seeing Theater: The Phenomenology of Classical Greek Drama.Naomi Weiss - 2023 - Univ of California Press.
    Introduction -- Opening spaces -- Seeing what -- Pain between bodies -- Pots and plays -- Epilogue.
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  14. Theater, representation, types and interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...)
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  15.  49
    The Theater of Nature: Jean Bodin and Renaissance Science (review).Peter Robert Dear - 1999 - Journal of the History of Philosophy 37 (2):363-364.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Theater of Nature: Jean Bodin and Renaissance Science by Ann BlairPeter DearAnn Blair. The Theater of Nature: Jean Bodin and Renaissance Science. Princeton: Princeton University Press, 1997. Pp. xiv + 382. Cloth, $45.00.Jean Bodin’s Universae naturae theatrum (1596) is the least celebrated of all the major publications by this outstanding figure of the French renaissance. It lacks the apparent political, historiographical, and philosophical relevance of Bodin’s well-known (...)
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  16.  21
    Theater and Social Change.Alisa Solomon - 2001 - Duke University Press.
    From the Federal Theater Projects of the Great Depression to the disruptive performances of the 1960s and 1970s, theater has played an important role in American radicalism. This special issue of_ _Theater_ reports on socially conscious, politically active theaters in the United States. Despite the evaporation of Cold War passions and the rise of conservatism in the 1980s and 1990s, such theater work remains a persistent and evolving presence on the political landscape. Since the first inauguration of George W. Bush, (...)
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  17.  61
    Live Theater and the Limits of Human Freedom.Craig Wright - 2011 - Topoi 30 (2):145-149.
    This paper argues that there is a relationship between the structure of live theater and the question of whether human beings have free will, and that the practice of live theater and the pursuit of philosophical certitude regarding free will are both constructive human experiences coalesced around roughly the same set of sensations.
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  18.  37
    The Theater and Classical India: Some Availability Issues.Probal Dasgupta - 2016 - Philosophy East and West 66 (1):60-72.
    Had I been willing to run the risk of multiplying cuteness beyond necessity, this article would have worn the title “So you are one of those naṭs!.” The Hindi word naṭ, which helpfully sounds like the English nut, represents the way most of us in contemporary India pronounce the Sanskrit word naṭa. When we notice that a nut, in English, is someone crazy, pointing us toward the divine madness that a Dionysian performer might be expected to manifest — while on (...)
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  19.  7
    Actors and Onlookers: Theater and Twentieth-century Scientific Views of Nature.Natalie Crohn Schmitt - 1990 - Northwestern University Press.
    Looks at the scientific basis for theories of drama, and explains how Cage's ideas have affected modern theater.
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  20.  53
    The Caring Theater or the Social Organization of Art.Raffaella Trigona - 2012 - World Futures 68 (3):197 - 205.
    A theater that heals is not a theater that offers answers and ?medicines? that guarantee to cure weaknesses and fragilities people meet but it is an open organization, which questions itself, which brings out ambivalence and ambiguity, diversity, weaknesses, and which leaves room for possible interpretations and narratives, the play of imagination, and the development of innovative and creative processes of people in society.
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  21.  5
    The Theater.Stark Young - 1928 - Journal of Philosophy 25 (13):359-361.
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  22. The theater of the absurd: Does modern physics need it?R. A. Aronov - 1999 - Filozofia 54 (2):103-113.
  23.  16
    Theater, Childhood, Education.Roberto Farnè - 2021 - ENCYCLOPAIDEIA 25 (61):67-79.
    Children love theater without knowing that they “do theater”, without someone teaching them to “play a part”: representing roles and situations is a spontaneous and natural playful dimension. We can call this “animation”, a characteristic feature of childhood: in the proper sense it means “giving life” by impersonating roles or creating scenarios with toys. Theater becomes a pedagogical device when it recognizes and enhances these assumptions by acting on two levels: on the one hand, making theater with children and young (...)
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  24.  10
    Ethisches Theater: Grundlagen des ethischen Managements und der strukturellen Transformation des Theaters.Thomas Schmidt - 2024 - Springer Fachmedien Wiesbaden.
    Behandelt die aktuelle und brennende Debatte der Krise des öffentlichen TheatersZukunftsperspektiven für das Theater in Deutschland Erstes geschlossenes Konzept zur Zukunft des Theatermanagements.
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  25. Theater, theology, and empowerment : Kierkegaard and Boal.Helene Russell - 2018 - In Roberto Sirvent & Silas Michael Morgan, Kierkegaard and political theology. Eugene, Oregon: Pickwick Publications.
     
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  26.  13
    Theater als europäische Anstalt?: Ein kontinuierliches Missverständnis.André Studt - 2016 - In Eckart Liebau & Peter Bubmann, Die Ästhetik Europas: Ideen Und Illusionen. Bielefeld: Transcript Verlag. pp. 115-124.
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  27.  11
    Theater and Human Flourishing.Harvey Young (ed.) - 2023 - New York, US: OUP Usa.
    This collection explores the link between theater and human flourishing. It interrogates both the social good of theater and the personally restorative work of a range of live embodied performances. It brings together the disciplines of theater (and performance studies) and psychology, especially positive psychology, to explore the social benefits of theater. These benefits include the formation and participation in community, opportunities to engage in political speech and thought, and the experience of being entertained (or offended) by both the creative (...)
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  28.  51
    Sharing Emotions Through Theater: The Greek Way.Paul Woodruff - 2016 - Philosophy East and West 66 (1):146-151.
    Presentations of tragic theater in ancient Greece both represent and elicit the sharing of emotions. The theory behind this is cognitive: In order to share the emotions of another, you must understand the situation of the other. In keeping with the theory, tragic texts emphasize the importance of understanding.Ancient Greek poets did not conceive that one person could respond emotionally to another without understanding the situation of the other, ideally through having lived through a similar situation — if not, then (...)
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  29.  81
    The Art of Theater.James R. Hamilton (ed.) - 2007 - Wiley-Blackwell.
    _The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.
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  30.  17
    Theater, theory, speculation. Walter Benjamin and the scenes of modernity.Hilda Meldrum Brown - 1994 - History of European Ideas 18 (5):789-791.
  31. Körper-Theater und Selbst-Erkenntnis: Konzepte von Erfahrung in der indischen Philosophie.Angelika Malinar - forthcoming - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft.
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  32.  21
    Slave Theater in the Roman Republic: Plautus and Popular Comedy by Amy Richlin.Antony Augoustakis - 2019 - Classical World: A Quarterly Journal on Antiquity 113 (1):106-107.
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  33.  97
    Collaborative theater/collective artist: An evolving systems case study in social creativity.Jimmy Bickerstaff - 2008 - World Futures 64 (4):276 – 291.
    Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and the more holistic view, in which (...)
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  34.  38
    The Theater of Fernando Arrabal: A Garden of Earthly Delights.Judith G. Miller & Thomas J. Donahue - 1980 - Substance 9 (3):92.
  35.  16
    Theater als europäische Anstalt?: Ein kontinuierliches Missverständnis.Clemens Risi - 2016 - In Eckart Liebau & Peter Bubmann, Die Ästhetik Europas: Ideen Und Illusionen. Bielefeld: Transcript Verlag. pp. 125-134.
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  36.  34
    Theater as Art.G. Shpet - 1989 - Russian Studies in Philosophy 28 (3):61-88.
    Theater is an art or theater is not an independent art. Each of these antithetical propositions has its supporters. It is usually the supporters of the second who come up with anything resembling intelligible argumentation. The first is usually accepted as fact, sanctified by universal acknowledgement, without criticism, without much reflection—it is just accepted: theater unquestionably gives satisfaction. What kind? Aesthetic! And so, theater is an art!
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  37.  18
    Teaching Theater in the French University: Questions from One Who Is Expected to Give Answers.Andre Veinstein & Roxanne Hanney - 1977 - Substance 6 (18/19):189.
  38.  12
    Musical theater during the reign of Anna Ioannovna (1730-1740): the embodiment of ambitious plans and aesthetic preferences of the Empress. [REVIEW]Vita Myriam Georgievna Kim - 2022 - Философия И Культура 2:35-46.
    The article touches upon the problem of the influence of Anna Ioannovna's personal qualities on the formation of the Russian musical theater. Despite the fact that historians generally critically evaluate the results of the reign of this tsarina, her contribution to the development of Russian musical theater was significant and, according to the author, not fully appreciated. According to the researchers, it was thanks to the initiatives of Peter the Great's niece that opera seria came to Russia and reigned for (...)
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  39.  16
    Theater Labs in General Education.A. Cleveland Harrison - 1971 - The Journal of Aesthetic Education 5 (1):139.
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  40. (1 other version)Theater and living spectacle. Contemporary mutations.Andre Helbo, Catherine Bouko & Elodie Verlinden - 2011 - Revue Internationale de Philosophie 255 (1):85-101.
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  41.  25
    Theater as Representation.Andre Helbo, Rose M. Avila & Roland A. Champagne - 1977 - Substance 6 (18/19):172.
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  42.  11
    12. Theater - Zwei reliefs.Fr Wieseler - 1857 - Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 12 (1-4):365-366.
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  43. Theater as event.Marvin Carlson - 1985 - Semiotica 56 (3/4):309-14.
     
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  44.  13
    The theater of man: J.L. Vives on society.J. A. Fernández-Santamaría - 1998 - Philadelphia, Pa.: American Philosophical Society.
    Held at Philadelphia for promoting useful knowledge.
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  45.  50
    Theater and Architecture.Curt Dilger - 1988 - Semiotics:421-428.
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  46.  46
    Theater and film as a medium for presenting the experiences of Shoah Survivors today.Deborah Vietor‐Englander - 1996 - The European Legacy 1 (3):1254-1259.
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  47.  27
    Modern Theater Does Not Take (A) Place.Julia Kristeva, Alice Jardine & Thomas Gora - 1977 - Substance 6 (18/19):131.
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  48.  1
    Political theater and athenian democracy.Jean Farias - 2025 - Griot 25 (1):208-220.
    The aim of this article is to analyze the relationship between tragedy, politics, democracy, and the social context of Athens in the 5th century. The idea of ​​the text is to discuss how tragedy resonated with important issues in Athenian society. In the first part of the text, we present a very brief summary of the original context of the tragedies, namely the rituals in honor of the god Dionysus, celebrating fertility and the harvest. In the second part, the text (...)
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  49.  39
    Theater and Fiction in France.van Meter Ames - 1950 - Journal of Aesthetics and Art Criticism 8 (4):239 - 244.
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  50.  44
    The Theater of History: Carnivàle, Deleuze, and the Possibility of New Beginnings.Frida Beckman - 2011 - Substance 40 (2):3-21.
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