1.
Giuseppe Verdi
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Giuseppe Fortunino Francesco Verdi was an Italian opera composer. Verdi was born near Busseto to a family of moderate means. Verdi came to dominate the Italian opera scene after the era of Bellini, Donizetti and Rossini, whose works influenced him. In his early operas Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy and he also participated briefly as an elected politician. He surprised the world by returning, after his success with the opera Aida. The baptismal register, prepared on 11 October 1813, lists his parents Carlo, additionally, it lists Verdi as being born yesterday, but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. Verdi himself, following his mother, always celebrated his birthday on 9 October, Verdi had a younger sister, Giuseppa, who died aged 17 in 1833. From the age of four, Verdi was given lessons in Latin and Italian by the village schoolmaster, Baistrocchi. After learning to play the organ, he showed so much interest in music that his parents provided him with a spinet. Verdis gift for music was apparent by 1820–21 when he began his association with the local church, serving in the choir, acting as an altar boy for a while. After Baistrocchis death, Verdi, at the age of eight, Carlo Verdi was energetic in furthering his sons education. something which Verdi tended to hide in later life. He picture emerges of youthful precocity eagerly nurtured by a father and of a sustained, sophisticated. Verdi returned to Busseto regularly to play the organ on Sundays, at age 11, Verdi received schooling in Italian, Latin, the humanities, and rhetoric. By the time he was 12, he began lessons with Ferdinando Provesi, maestro di cappella at San Bartolomeo, director of the music school. This information comes from the Autobiographical Sketch which Verdi dictated to the publisher Giulio Ricordi late in life, in 1879, written, understandably, with the benefit of hindsight, it is not always reliable when dealing with issues more contentious than those of his childhood. The other director of the Philharmonic Society was Antonio Barezzi, a grocer and distiller. The young Verdi did not immediately become involved with the Philharmonic, by June 1827, he had graduated with honours from the Ginnasio and was able to focus solely on music under Provesi. By 1829–30, Verdi had established himself as a leader of the Philharmonic, none of us could rival him reported the secretary of the organisation, Giuseppe Demaldè
2.
Otello
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Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeares play Othello. It was Verdis penultimate opera, and was first performed at the Teatro alla Scala, Milan, when it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America. Thus a plot of sorts was hatched in order to coax the composer out of retirement to write another opera, because of the importance of the dramatic aspects of opera to the composer, Verdi was especially selective in his choice of subjects. Consequently, if he were to agree to another opera after a decade of retirement. Verdis refusals continued as the 1870s progressed, but she confessed defeat yet again. Clara Maffei also tried, unsuccessfully, in March 1878 to interest Verdi, what would I succeed in doing. Boito, Verdi, and revisions of Simon Boccanegra While he was attempting to get Verdi involved a new opera, persisting with further attempts to convince the composer, Ricordi had also broached the idea of a collaboration with Boito for a new opera based on Shakespeares Othello. Because of its relatively straightforward story, the play Othello was selected as a likely target, collaborations with Boito in the revision of the 1857 opera Simon Boccanegra helped to convince Verdi of Boitos ability as a librettist. Verdi visited Milan on 30 June 1879, and conducted his Requiem Mass in a performance at La Scala. He received the acclaim of the public, which included the La Scala orchestra playing outside his hotel. Walker assumes that it was both Ricordi and Faccio who stage managed the effects to give the composer the sense of being welcome and respected in Milan. Finally, after some plotting, Ricordi, in conjunction with Verdis friend, during a dinner at Verdis Milan residence during the summer of 1879, Ricordi and Faccio guided the conversation towards Shakespeares play Othello and to the librettist Arrigo Boito. At the mention of Othello I saw Verdi fix his eyes on me, with suspicion and he had certainly understood, he had certainly reacted. I believed the time was ripe, suggestions were made, despite initial skepticism on the part of the composer, that Boito would be interested in creating a new libretto based upon the play. Within several days, Ricordi approached Verdi with the request that he would like to visit Sant Agata with a friend in September, Verdis reaction was clearly non-committal, I wish absolutely to avoid committing myself The best thing. Is for him to me the finished poem. Meanwhile, Boito began work on the libretto in spite of illness and, after appealing to Giuseppina, Ricordi was told that the Verdis would be coming to Milan and that he would meet privately with Boito. However, she noted in her letter of 7 November, Between ourselves, what Boito has so far written of the African seems to please him, and is very well done
3.
Theatre
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The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence, the specific place of the performance is also named by the word theatre as derived from the Ancient Greek θέατρον, itself from θεάομαι. Modern theatre, broadly defined, includes performances of plays and musical theatre, there are connections between theatre and the art forms of ballet, opera and various other forms. The city-state of Athens is where western theatre originated, participation in the city-states many festivals—and mandatory attendance at the City Dionysia as an audience member in particular—was an important part of citizenship. The Greeks also developed the concepts of dramatic criticism and theatre architecture, Actors were either amateur or at best semi-professional. The theatre of ancient Greece consisted of three types of drama, tragedy, comedy, and the satyr play, the origins of theatre in ancient Greece, according to Aristotle, the first theoretician of theatre, are to be found in the festivals that honoured Dionysus. The performances were given in semi-circular auditoria cut into hillsides, capable of seating 10, the stage consisted of a dancing floor, dressing room and scene-building area. Since the words were the most important part, good acoustics, the actors wore masks appropriate to the characters they represented, and each might play several parts. Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the culture of the city-state. Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE, no tragedies from the 6th century BCE and only 32 of the more than a thousand that were performed in during the 5th century BCE have survived. We have complete texts extant by Aeschylus, Sophocles, and Euripides, the origins of tragedy remain obscure, though by the 5th century BCE it was institution alised in competitions held as part of festivities celebrating Dionysus. As contestants in the City Dionysias competition playwrights were required to present a tetralogy of plays, the performance of tragedies at the City Dionysia may have begun as early as 534 BCE, official records begin from 501 BCE, when the satyr play was introduced. More than 130 years later, the philosopher Aristotle analysed 5th-century Athenian tragedy in the oldest surviving work of dramatic theory—his Poetics, Athenian comedy is conventionally divided into three periods, Old Comedy, Middle Comedy, and New Comedy. Old Comedy survives today largely in the form of the surviving plays of Aristophanes. New Comedy is known primarily from the papyrus fragments of Menander. Aristotle defined comedy as a representation of people that involves some kind of blunder or ugliness that does not cause pain or disaster. In addition to the categories of comedy and tragedy at the City Dionysia, finding its origins in rural, agricultural rituals dedicated to Dionysus, the satyr play eventually found its way to Athens in its most well-known form. Satyrs themselves were tied to the god Dionysus as his loyal companions, often engaging in drunken revelry
4.
Film
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A film, also called a movie, motion picture, theatrical film or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession, the process of filmmaking is both an art and an industry. The word cinema, short for cinematography, is used to refer to the industry of films. Films were originally recorded onto plastic film through a photochemical process, the adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the process of production, distribution. Films recorded in a form traditionally included an analogous optical soundtrack. It runs along a portion of the film exclusively reserved for it and is not projected, Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them, Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer, some have criticized the film industrys glorification of violence and its potentially negative treatment of women. The individual images that make up a film are called frames, the perception of motion is due to a psychological effect called phi phenomenon. The name film originates from the fact that film has historically been the medium for recording and displaying motion pictures. Many other terms exist for a motion picture, including picture, picture show, moving picture, photoplay. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field, in general, include the big screen, the screen, the movies, and cinema. In early years, the sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film, scripts, sets, costumes, production, direction, actors, audiences, storyboards, much terminology later used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images, the magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides
5.
Television
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Television or TV is a telecommunication medium used for transmitting moving images in monochrome, or in color, and in two or three dimensions and sound. The term can refer to a set, a television program. Television is a medium for entertainment, education, news, politics, gossip. Television became available in experimental forms in the late 1920s. After World War II, a form of black-and-white TV broadcasting became popular in the United States and Britain, and television sets became commonplace in homes, businesses. During the 1950s, television was the medium for influencing public opinion. In the mid-1960s, color broadcasting was introduced in the US, for many reasons, the storage of television and video programming now occurs on the cloud. At the end of the first decade of the 2000s, digital television transmissions greatly increased in popularity, another development was the move from standard-definition television to high-definition television, which provides a resolution that is substantially higher. HDTV may be transmitted in various formats, 1080p, 1080i, in 2013, 79% of the worlds households owned a television set. Most TV sets sold in the 2000s were flat-panel, mainly LEDs, major manufacturers announced the discontinuation of CRT, DLP, plasma, and even fluorescent-backlit LCDs by the mid-2010s. In the near future, LEDs are gradually expected to be replaced by OLEDs, also, major manufacturers have announced that they will increasingly produce smart TVs in the mid-2010s. Smart TVs with integrated Internet and Web 2.0 functions became the dominant form of television by the late 2010s, Television signals were initially distributed only as terrestrial television using high-powered radio-frequency transmitters to broadcast the signal to individual television receivers. Alternatively television signals are distributed by cable or optical fiber, satellite systems and. Until the early 2000s, these were transmitted as analog signals, a standard television set is composed of multiple internal electronic circuits, including a tuner for receiving and decoding broadcast signals. A visual display device which lacks a tuner is correctly called a video monitor rather than a television, the word television comes from Ancient Greek τῆλε, meaning far, and Latin visio, meaning sight. The Anglicised version of the term is first attested in 1907 and it was. formed in English or borrowed from French télévision. In the 19th century and early 20th century, other. proposals for the name of a technology for sending pictures over distance were telephote. The abbreviation TV is from 1948, the use of the term to mean a television set dates from 1941
6.
Theatrical scenery
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Theatrical scenery is that which is used as a setting for a theatrical production. The history of theatrical scenery is as old as the theatre itself, what we tend to think of as traditional scenery, i. e. By the Shakespearean era, the painted backdrop or theatrical prop was in evidence. However, this means that todays set designers must be much more careful. Our more modern notion of scenery, which dates back to the 19th century, finds its origins in the spectacle of opera buffa. Its elaborate settings were appropriated by the straight, or dramatic, theatre, through their use in comic operettas, burlesques, pantomimes and the like. Everything came together in the 1980s and 1990s and, continuing to today, until there is no established style of scenic production, modern stagecraft has grown so complex as to require the highly specialized skills of hundreds of artists and craftspeople to mount a single production. The construction of scenery is frequently one of the most time-consuming tasks when preparing for a show. As a result, many theatres have a place for storing scenery so that it can be used for multiple shows, since future shows typically are not known far in advance, theatres will often construct stock scenery that can be easily adapted to fit a variety of shows. Common stock scenery types include, Curtains Flats Platforms Scenery wagons Production sets Scenic design Set construction Scenography
7.
Computer-aided design
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Computer-aided design is the use of computer systems to aid in the creation, modification, analysis, or optimization of a design. CAD software is used to increase the productivity of the designer, improve the quality of design, improve communications through documentation, CAD output is often in the form of electronic files for print, machining, or other manufacturing operations. The term CADD is also used and its use in designing electronic systems is known as electronic design automation, or EDA. In mechanical design it is known as mechanical design automation or computer-aided drafting, however, it involves more than just shapes. CAD may be used to design curves and figures in space, or curves, surfaces. CAD is also used to produce computer animation for special effects in movies, advertising and technical manuals. The modern ubiquity and power of computers means that even perfume bottles, because of its enormous economic importance, CAD has been a major driving force for research in computational geometry, computer graphics, and discrete differential geometry. The design of models for object shapes, in particular, is occasionally called computer-aided geometric design. Eventually CAD provided the designer with the ability to perform engineering calculations, during this transition, calculations were still performed either by hand or by those individuals who could run computer programs. CAD was a change in the engineering industry, where draftsmen, designers. It did not eliminate departments, as much as it merged departments and empowered draftsman, CAD is just another example of the pervasive effect computers were beginning to have on industry. Current computer-aided design software packages range from 2D vector-based drafting systems to 3D solid, modern CAD packages can also frequently allow rotations in three dimensions, allowing viewing of a designed object from any desired angle, even from the inside looking out. Some CAD software is capable of mathematical modeling, in which case it may be marketed as CAD. CAD technology is used in the design of tools and machinery and in the drafting and design of all types of buildings and it can also be used to design objects. Furthermore, many CAD applications now offer advanced rendering and animation capabilities so engineers can better visualize their product designs, 4D BIM is a type of virtual construction engineering simulation incorporating time or schedule related information for project management. CAD has become an important technology within the scope of computer-aided technologies, with benefits such as lower product development costs. CAD enables designers to layout and develop work on screen, print it out, computer-aided design is one of the many tools used by engineers and designers and is used in many ways depending on the profession of the user and the type of software in question. Document management and revision control using Product Data Management, potential blockage of view corridors and shadow studies are also frequently analyzed through the use of CAD
8.
Robert Edmond Jones
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Robert Edmond Bobby Jones was an American scenic, lighting, and costume designer. He is credited with incorporating the new stagecraft into the American drama and his designs sought to integrate the scenic elements into the storytelling instead of having them stand separate and indifferent from the play’s action. His visual style, often referred to as simplified realism, combined bold vivid use of color and simple, yet dramatic, born in Milton, New Hampshire, Jones attended Harvard University and graduated in 1910. Jones eventually moved to New York where, with friends made at Harvard, in 1913 Jones and several friends sailed to Europe to study the new stagecraft with Edward Gordon Craig in Florence. The school in Florence would not accept Jones so he went to Berlin instead and his innovative designs for Vladimir Rosings American Opera Company in 1927 and 1928 were praised by critics. Jones also brought his style to many productions put on by the Theatre Guild, with innovative designs for The Philadelphia Story, Othello. Jones’s biggest commercial success was with The Green Pastures, which, if we include its revival in 1951 and this revival was Jones’s last production. Other Broadway credits include Holiday, Mourning Becomes Electra, Ah, juno and the Paycock, and Lute Song. Jones was also the designer for some early three-color Technicolor films, such as La Cucaracha and Becky Sharp. Jones published many articles on design in the course of his career. His books include Drawings for the Theatre, and The Dramatic Imagination and his book The Dramatic Imagination is considered the definitive work on modern stage design in the first half of the 20th century. He died in the house he was born in on Thanksgiving Day,1954, in a time where theatrical set designs were extravagant and realistic, Jones counteracted the norm by creating simple or expressionistic sets and props. He was an unashamed pleader for beauty and, far more important, are attempting to express directly to the audience the unspoken thoughts of their characters, to show us not only the patterns of their conscious behavior but the pattern of their subconscious lives. We accept unthinkingly as objective transcripts of life, whereas in reality they are images of life. On stage we shall see the characters of the drama. The theater is a school we shall never have done with studying and learning, a stage setting is not a background, it is an environment. I think needs also actors who have in them a kind of wildness, an exuberance, a take-it-or-leave-it quality, I am indebted to the great Madame Freisinger for teaching me the value of simplicity in the theater. The sole aim of the arts of scene-designing, costuming, lighting, is, as I have already said, to enhance the natural powers of the actor
9.
Theatre director
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The directors function is to ensure the quality and completeness of theatre production and to lead the members of the creative team into realizing their artistic vision for it. If the production he or she is mounting is a new piece of writing or a translation of a play, in contemporary theatre, after the playwright, the director is generally the primary visionary, making decisions on the artistic concept and interpretation of the play and its staging. Different directors occupy different places of authority and responsibility, depending on the structure, Directors use a wide variety of techniques, philosophies, and levels of collaboration. In ancient Greece, the birthplace of European drama, the writer bore principal responsibility for the staging of his plays, the author-director would also train the chorus, sometimes compose the music, and supervise every aspect of production. The fact that the director was called didaskalos, the Greek word for teacher, a miniature by Jean Fouquet from 1460 bears one of the earliest depictions of a director at work. Holding a prompt book, the central figure directs, with the aid of a long stick, from Renaissance times up until the 19th century, the role of director was often carried by the actor-manager. This would usually be an actor in a troupe who took the responsibility for choosing the repertoire of work, staging it. This was the case for instance with Commedia dellArte companies and English actor-managers like Colley Cibber, the modern theatre director can be said to have originated in the staging of elaborate spectacles of the Meininger Company under George II, Duke of Saxe-Meiningen. The management of large numbers of extras and complex stagecraft matters necessitated an individual to take on the role of overall coordinator. This gave rise to the role of the director in modern theatre, simultaneously, Constantin Stanislavski, principally an actor-manager, would set up the Moscow Art Theatre in Russia and similarly emancipate the role of the director as artistic visionary. The French regisseur is also used to mean a stage director. A more common term for theatre director in French is metteur en scène, post World War II, the actor-manager slowly started to disappear, and directing become a fully fledged artistic activity within the theatre profession. The director originating artistic vision and concept, and realizing the staging of a production, a cautionary note was introduced by the famed director Sir Tyrone Guthrie who said the only way to learn how to direct a play, is. To get a group of actors simple enough to allow you to let you direct them, most European countries nowadays know some form of professional directing training, usually at drama schools or conservatoires, or at universities. In the early days such programmes typically led to the staging of one major production in the third year. At the University of California, Irvine, Keith Fowler led for many years a programme based on the premise that directors are autodidacts who need as many opportunities to direct as possible. Under Fowler, graduate student directors would stage between five and ten productions during their residencies, with each production receiving detailed critiques. Directing is an artform that has grown with the development of theatre theory, with the emergence of new trends in theatre, so too have directors adopted new methodologies and engaged in new practices
10.
Scale model
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This enables it to demonstrate some behavior or property of the original object without examining the original object itself. The most familiar scale models represent the appearance of an object in miniature. Scale models are used in fields including engineering, architecture, film making, military command, salesmanship. While each field may use a model for a different purpose, all scale models are based on the same principles. The detail requirements vary depending on the needs of the modeler, in general a scale model must be designed and built primarily considering similitude theory. However, other requirements concerning practical issues must also be considered, similitude is the theory and art of predicting prototype performance from scale model observations. The main requirement of similitude is all dimensionless quantities must be equal for both the model and the prototype under the conditions the modeler desires to make observations. Dimensionless quantities are generally referred to as Pi terms, or π terms, in many fields the π terms are well established. For example, in dynamics, a well known dimensionless number called the Reynolds number comes up frequently in scale model tests with fluid in motion relative to a stationary surface. An example of the Reynolds number and its use in similitude theory satisfaction can be observed in the scale model testing of fluid flow in a horizontal pipe, one method to determine the dimensionless quantities of concern for a given problem is to use dimensional analysis. Practical concerns include the cost to construct the model, available test facilities to condition and observe the model, the availability of certain materials, and even who will build it. Practical requirements are very diverse depending on the purpose of the scale model. As an example, perhaps an aerospace company needs to test a new wing shape, however, if a facility such as this one cant be used, perhaps due to cost constraints, the similitude requirements must be relaxed or the test redesigned to accommodate the limitation. In this case, concessions must be made for reasons to the similitude requirements. An example of this from fluid dynamics is flow of a liquid in a horizontal pipe, possible π terms to consider in this situation are Reynolds number, Weber number, Froude number, and Mach number. For this flow configuration, however, no tension is involved. Also, compression of the fluid is not applicable, so the Mach number can be disregarded, finally, gravity is not responsible for the flow, so the Froude number can also be disregarded. This leaves the modeler with only the Reynolds number to worry about in terms of equating its values for the scale model, in general, scale models can be classified into three classes depending on the degree of similitude satisfaction they exhibit
11.
Artistic rendering
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Rendering in visual art and technical drawing means the process of formulating, adding color, shading, and texturing of an image. It can also be used to describe the quality of execution of that process, when used as a means of expression, it is synonymous with illustrating. However, it may be used for visualization of existing data regardless of any preconceived message or idea to express. Rendering is also a technique that can be used while designing packaging and branding, the alternative method to rendering an image is capturing an image such as photography or image scanning. Both rendered and captured images can be mixed, edited, or both, artistic rendering is the application of visual art styles to rendering. For photorealistic rendering styles, the emphasis is on accurate reproduction of light-and-shadow, in computer graphics, interpretive rendering styles are known as non-photorealistic rendering styles, but may be used to simplify technical illustrations. Rendering styles that combine photorealism with non-photorealism are known as hyperrealistic rendering styles, 2D computer graphics 3D computer graphics Graphic art software List of artistic media
12.
Adolphe Appia
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Adolphe Appia, son of Red Cross co-founder Louis Appia, was a Swiss architect and theorist of stage lighting and décor. Appia is best known for his scenic designs for Wagner’s operas. Through the use of control of light intensity, colour and manipulation, Appia created a new perspective of scene design, one of the reasons for the influence of Appia’s work and theories, is that he was working at time when electrical lighting was just evolving. Another is that he was a man of vision who was able to conceptualize and philosophize about many of his practices and theories. The central principle underpinning much of Appia’s work is that artistic unity is the function of the director. Appia maintained that two dimensional set painting and the dynamics it created, was the major cause of production disunity in his time. He advocated synchronicity of sound, light and movement in his productions of Wagner’s operas and he tried to integrate corps of actors with the rhythms and moods of the music. He often tried to have actors, singers and dancers start with a symbolic gesture or movement. In his productions, light was ever changing, manipulated from moment to moment, ultimately, Appia sought to unify stage movement and the use of space, stage rhythm and the mise en scene. Appia was one of the first designers to understand the potential of stage lighting to do more than merely illuminate actors, Appia’s designs and theories went on to inspire many other theatre creators such as Edward Gordon Craig, Jacques Copeau and Wieland Wagner. La mise en scéne du théatre Wagnerien, musique et mise en scéne,1897 See also the articles about Appia written by Prince Serge Wolkonsky Adolphe Appia, Visionary of Invisible a film by Louis Mouchet Bablet Denis, Bablet Marie-Louise. Actor – Space – Light – Pro Helvetia, Zurich and John Calder Ltd, London/Riverrun Press, New York.1982 Beacham, Adolphe Appia, Theatre Artists, Cambridge University Press, Cambridge,1987. History of the Theatre, Allyn and Bacon, Boston,1994, the Director in a Changing Theatre, Mayfield, Palo Alto,1976. Adolphe Appia, Visionary of Invisible, a film by Louis Mouchet,1988 Joël Aguet, theaterlexikon der Schweiz / Dictionnaire du théâtre en Suisse / Dizionario Teatrale Svizzero / Lexicon da teater svizzer
13.
Boris Aronson
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Boris Aronson was an American scenic designer for Broadway and Yiddish theatre. He won the Tony Award for Scenic Design six times in his career, the son of a Rabbi, Aronson was born in Kiev, in the Russian Empire, and enrolled in art school during his youth. Aronson became an apprentice to the designer Aleksandra Ekster, who introduced him to the directors Vsevolod Meyerhold and Alexander Tairov, Aronson worked for some years in Moscow and Germany. In Berlin he exhibited at the seminal Van Diemen Gallery First Exhibition of Russian Art, alongside the Constructivists El Lissitzky and Naum Gabo and he wrote two books in Berlin, on Marc Chagall and Jewish graphic art, before he obtained an immigration visa for America in 1923. He achieved fame in New Yorks Jewish community when he designed Schwartzs 1926 revival of Abraham Goldfadens play The Tenth Commandment, although he shunned politics, Aronson produced sets for the Communist affiliated ARTEF, such as Lag Boymer and Jim Kooperkop in 1930. However, he soon left the Yiddish Theatre to prevent his works ghettoization. During the 1930s, he worked on productions by the Group Theatre, including works by Clifford Odets and Irwin Shaw. He continued work on Broadway into the 1960s and 1970s with musicals including Do Re Mi, Fiddler on the Roof, Cabaret, Zorba, Company, Follies, A Little Night Music and he won the Drama Desk Award for Outstanding Set Design three times. Aronson designed sets for the Metropolitan Opera and ballet companies, including the production of The Nutcracker choreographed by Mikhail Baryshnikov and he was also a non-theatrical artist, working as a painter and sculptor. At the time of his death in 1980, he was a member of New Yorks theatre and art community, Aronsons wife was Lisa Jalowetz, who worked on many of Aronsons shows as his assistant. In 1979, a year before his death, Aronson was inducted into the American Theater Hall of Fame, for Company, Harold Prince and Aronson had discussed at length a Francis Bacon painting * of a figure in motion behind a steel-and-glass coffee table. They decided that it captured the frantic, anxious, driven quality of urban life, Aronson presented Prince with that famous chrome-and-glass backdrop. Aronson had made a study of how many buttons he pushed on a day in New York City. Was delighted to find that Aronson had given him two working elevators to play with, was astonished that Aronson didnt do three projects at once, as many designers did, but instead watched every line change every night. The veteran lighting designer Tharon Musser, felt that she learned more from Aronson than from any other set designer in her long career. His design concepts were so strong that if someone went against them, the Merchant of Yonkers Ladies and Gentlemen Cabin in the Sky The Desert Song I Am a Camera The Creation of the World and Other Business Boris Aronson
14.
Alexandre Benois
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Alexandre Nikolayevich Benois was an influential Russian artist, art critic, historian, preservationist, and founding member of Mir iskusstva, an art movement and magazine. As a designer for the Ballets Russes under Sergei Diaghilev, Benois exerted what is considered an influence on the modern ballet. Alexandre was born into the artistic and intellectual Benois family, prominent members of the 19th- and his mother Camilla was the granddaughter of Catterino Cavos. His father was Nicholas Benois, a noted Russian architect and his brothers included Albert, a painter, and Leon, also a notable architect. His sister, Maria, married the composer and conductor Nikolai Tcherepnin, not planning a career in the arts, Alexandre graduated from the Faculty of Law, Saint Petersburg Imperial University, in 1894. Three years later while in Versailles, Benois painted a series of watercolors depicting Last Promenades of Louis XIV, when exhibited by Pavel Tretyakov in 1897, they brought him to attention of Sergei Diaghilev and the artist Léon Bakst. Together the three men founded the art magazine and movement Mir iskusstva, which promoted the Aesthetic Movement, during the first decade of the new century, Benois continued to edit Mir iskusstva, but also pursued his scholarly and artistic interests. He wrote and published several monographs on 19th-century Russian art and Tsarskoye Selo, in 1903, Benois printed his illustrations to Pushkins poem The Bronze Horseman, a work since recognized as one of the landmarks in the genre. In 1904, he published his “Alphabet in Pictures, ” at once a children’s primer an elaborate art book, copies of which fetch as much as $10, 000US at auction. Illustrations from this volume were featured at a presentation during the opening ceremony of the Winter Olympics in Sochi in 2014. In 1901, Benois was appointed director of the Mariinsky Theatre in Saint Petersburg. He moved to Paris in 1905 and thereafter devoted most of his time to stage design, during these years, his work with Diaghilevs Ballets Russes was groundbreaking. His sets and costumes for the productions of Les Sylphides, Giselle, although Benois worked primarily with the Ballets Russes, he also collaborated with the Moscow Art Theatre and other notable theatres of Europe. During this time he secured his brothers heirloom Leonardo da Vinci painting of the Madonna for the museum and it became known as the Madonna Benois. Benois published his Memoirs in two volumes in 1955, in 1927 he left Russia and settled in Paris. He worked primarily as a set designer after settling in France, benoiss son, Nicola Alexandrovich Benois, was born in 1901, and went on to become a celebrated opera designer, creating costumes and sets for opera companies all over the world. Benoiss nephew, Nikolai Albertovich Benois, married the opera singer Maria Nikolaevna Kuznetsova, Benois was also the uncle of Eugene Lanceray and Zinaida Serebriakova, who became recognized Russian artists, and one of the great-uncles of the British actor Sir Peter Ustinov. Benois family Anna Pavlova, film by Emil Loteanu, portrayed by Anatoli Romashin, list of Russian artists Katerina Clark, Petersburg, Crucible of the Cultural Revolution
15.
Barry Kay
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Barry Kay was an Australian-born stage and costume designer of international renown. After having studied painting at the Académie Julian in Paris and theatre design in Melbourne, kays emphasis lay in pioneering three-dimensional stage set designs for the ballet. Later in his career Kay also became a photographer of subjects with socio-anthropological contents and his photo essay As a Woman, published in 1976, is an extensive portrait of the unique transvestite and transsexual community of Sydney, Australia. Kays artistic contributions to the arts are well represented and documented at national museums, state galleries, art libraries, theatre collections. In November 2006, the Barry Kay Archive website was archived by the National Library of Australia in its PANDORA web archive, launched on 30 November 2007, Live Performance pays tribute to a collection of people on the occasion of its 90th anniversary
16.
Aleksandra Ekster
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She was born Aleksandra Aleksandrovna Grigorovich in Białystok, in the Grodno Governorate of the Russian Empire to a wealthy Belarusian family. Her father, Aleksandr Grigorovich, was a wealthy Belarusian businessman, young Aleksandra received an excellent private education, studying languages, music, art, and taking private drawing lessons. Soon her parents moved to Kyiv, and Asya, as called by her friends, attended Kiev gymnasium St. Olga and Kiev Art School, Aleksandra graduated in painting from Kiev Art School in 1906. In 1908, Aleksandra Grigorovich married a successful Kiev lawyer, Nikolai Evgenyevich Ekster, the Eksters belonged to cultural and intellectual elite of Kiev. She spent several months with her husband in Paris, and there she attended Académie de la Grande Chaumière in Montparnasse, from 1908 to 1924 she intermittently lived in Kiev, St. Petersburg, Odessa, Paris, Rome and Moscow. In 1908 she participated in an exhibition together with members of the group Zveno organized by David Burliuk, Wladimir Burliuk, in Paris, Aleksandra Ekster was a personal friend of Pablo Picasso and Georges Braque, who introduced her to Gertrude Stein. She exhibited six works at the Salon de la Section dOr, Galerie La Boétie, Paris, October 1912, with Jean Metzinger, Albert Gleizes, Marcel Duchamp and others. In that same year she participated with the “Russians” Archipenko, Koulbine, in 1915 she joined the group of avant-garde artists Supremus. Her friend introduced her to the poet Apollinaire, who took her to Picassos workshop, according to Moscow Chamber Theatre actress Alice Coonen, In Parisian household there was a conspicuous peculiar combination of European culture with Ukrainian life. On the walls between Picasso and Braque paintings there was Ukrainian embroidery, on the floor was a Ukrainian carpet, at the table they served clay pots, colorful majolica plates of dumplings. Under the avant-guard umbrella, Ekster has been noted to be a suprematist and constructivist painter as well as an influencer of the Art Deco movement. While not confined within a movement, Exter was one of the most experimental women of the avant-garde. Ekster absorbed from many sources and cultures in order to develop her own original style, Ekster later founded a teaching and production workshop in Kiev. Vadym Meller, Anatol Petrytsky, Kliment Redko, Tchelitchew, Shifrin, Nikritin worked there, also during this period she was one of the leading stage designers of Alexander Tairovs Chamber Theatre. In 1919 together with other avant-garde artists Kliment Redko and Nina Genke-Meller she decorated the streets and squares of Kiev and she worked with Vadym Meller as a costume designer in a ballet studio of the dancer Bronislava Nijinska. In 1921 she became a director of the elementary course Color at the Higher Artistic-Technical Workshop in Moscow and her work was displayed alongside that of other Constructivist artists at the 5x5=25 exhibition held in Moscow in 1921. In line with her eclectic avant-guard-like style, Ekster’s early paintings strongly influenced her design as well as her book illustrations. All of Ekster’s works, no matter the medium, stick to her distinct style and her works are vibrant, playful, dramatic, and theatrical in composition, subject matter, and color
17.
David Gallo
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David Gallo is an American scenic designer, media and projection designer for Broadway, international productions, animated features, television specials and arena shows. David Gallo designed the Tony Award winning musicals Memphis and Thoroughly Modern Millie, Gem of the Ocean and Radio Golf earned the designer two additional Tony Award nominations. Gallo was honored to design the Kennedy Centers tribute production of August Wilson’s Twentieth Century and he also works with many producing interests in Asia, including Seol and Company, Atlantis Productions, Creative Productions and Broadway Asia. A recent Asian venture was the musical, Tears of Heaven. NINE premiered in Manila, Philippines in fall 2012, Gallo was the creative collaborator with Phish for NYE at MSG in 2011 and production designer in 2012 where he threw a Garden Party and staged a runaway golf cart marathon. In 2013 Gallo re-created the bands original tour truck and customized a flatbed-turned-stage where Phish performed in the round in the worlds most famous arena, Gallo serves as Creative Consultant for Live Designs Scenic Design Master Class and as Performing Arts/Design Contributing Editor at Stated Magazine. Often credited with a style, many of Gallos projects have been centered on children. Gallo designed the 135th Ringling Bros. and Barnum & Bailey Circus, madagascar, Super Why, Blues Clues, Dora the Explorer, Go, Diego, Go. Clifford the Big Red Dog, SpongeBob SquarePants, and various projects for Nickelodeon, David Gallo designed the popular Christmas television special Elmos Christmas Countdown for Sesame Street and was honored by the Jim Henson Company with a true Muppet crafted in his likeness. David Gallo designed the 2010 Broadway Cares Collection Official Snow Globe to benefit Broadway Cares/Equity Fights Aids Fund, in 2000, David Gallos body of work was chosen to represent innovative contemporary American set design in the Cooper-Hewitt, National Design Museum inaugural National Design Triennial. His paintings for the 1997 Broadway revival of A View from the Bridge are in the Smithsonian Institution archives in Washington, drama Critics Circle Award, The Drowsy Chaperone, Gem of the Ocean, Jitney L. A
18.
Edward Gordon Craig
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Craig was the son of actress Dame Ellen Terry. The Gordon Craig Theatre, built in Stevenage, was named in his honour in 1975 and he took the surname Craig by deed poll at age 21. Craig spent much of his childhood backstage at the Lyceum Theatre, Craig later wrote a vivid, book-length tribute to Irving. In 1893 Craig married Helen Mary Gibson, with whom he had five children, Philip Carlisle, Rosemary Nell, Henry Edward Robin, John, with his lover, the violinist Elena Fortuna Meo he had three children, Ellen Gordon, Ellen Gordon and Edward Anthony Carrick. With his lover, the dancer Isadora Duncan, he had a daughter, Deirdre Beatrice, with his lover, the poet Dorothy Nevile Lees, he had a son, Davidino Lees, a noted Italian photojournalist. His granddaughter is the illustrator and author Helen Craig, Craig lived in straitened circumstances in France for much of his life and was interned by German Occupation forces in 1942. He died at Vence, France, in 1966, aged 94, Craig asserted that the director was the true artist of the theatre and, controversially, suggested viewing actors as no more important than marionettes. He designed and built elaborately symbolic sets, for instance, a set composed of his patented movable screens for the Moscow Art Theatre production of Hamlet and he was also the editor and chief writer for the first international theatre magazine, The Mask. He worked as an actor in the company of Sir Henry Irving and his acting career ended in 1897, when he went into theatrical design. Craigs first productions, Purcells Dido and Aeneas, Handels Acis and Galatea, after finding little financial success in Britain, Craig set out for Germany in 1904. While there, he one of his most famous works. After settling in Italy, Craig created a school of design with support from Lord Howard de Walden. During World War I, he wrote a cycle of puppet plays, Craig was considered extremely difficult to work with and ultimately refused to direct or design any project over which he did not have complete artistic control. This led to his withdrawal from practical theatre production and his later career is remarkable for how little he achieved after the age of forty, during a long period of over fifty years. He received an OBE and in 1958 was made a Companion of Honour, craigs idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept. In 1910 Craig filed a patent which described in technical detail a system of hinged and fixed flats that could be quickly arranged to cater for both internal and external scenes. He presented a set to William Butler Yeats for use at the Abbey Theatre in Ireland, Craig’s second innovation was in stage lighting. Doing away with traditional footlights, Craig lit the stage from above, colour and light also became central to Craig’s stage conceptualizations
19.
Es Devlin
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Es Devlin is a stage designer. Her work has been awarded three Olivier Awards and she was appointed OBE in the Queens New Years Honours List 2015, Devlin studied music at the Royal Academy of Music from age 12 as a Junior Exhibitioner while attending Cranbrook School in Kent. She went on to gain a Bachelor of Arts Degree in English Literature at Bristol University, while studying Devlin worked as a stage hand for Le Cirque Invisible – the circus created by Victoria Chaplin and Jean-Baptiste Thierrée. She also assisted the artist Damien Hirst on Agongo, an installation at the Richard de Marco Gallery in Edinburgh in 1992, Devlin was born in Kingston upon Thames to author, campaigner and former teacher Angela Devlin, and Tim Devlin was a journalist. Devlin lives in Peckham, South London with her husband, costume designer Jack Galloway, more projects followed in small fringe theatres in London including the Bush Theatre where she was appointed Artistic Associate from 1997–99. Devlin invited Trevor Nunn to see her work at the tiny pub theatre – he saw the show, Devlins first major opera commission was Ernst Blochs Macbeth in 2003 at Theater an der Wien in Vienna. Devlin also designs for dance – including pieces for Russell Maliphant, Rambert Dance Company, Northern Ballet Theatre, Sadlers Wells and Cullberg Ballet, Sweden. In 2005 Kanye West saw images of Devlins installation for the post punk band WIRE – a collaboration with the artists Jake, Kanye was in rehearsal for his Touch the Sky World Arena Tour. He commissioned Devlin to re-conceive his show 10 days before the first performance, Devlins notable large scale project for Take That European Stadium Progress Live in 2011, featured a 20metre high mechanical man that stood up in the centre of the stadium. It was large scale projects like this that led LOCOG to select Devlin. Devlin was also part of the team on the Opening Ceremony of the 2016 Rio Olympic Games. Devlin was profiled in the first season of the Netflix docu-series Abstract, Devlin was appointed Officer of the Order of the British Empire in the 2015 New Year Honours for services to stage and set design. Es Devlin Official Website Video, Es Devlin talk for Bloomberg BusinessWeek January 2013 Video, Es Devlin TEDx talk November 2012 Video, Interview with Es Devlin for the Royal Opera House
20.
Christopher Gibbs
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Christopher Henry Gibbs is a British antiques dealer and collector who was also an influential figure in mens fashion and interior design in 1960s London. He has been credited with inventing Swinging London, and has called the King of Chelsea. The New York Times described him as a man of taste, judgment and experience. Gibbs is the son of Hon. Sir Geoffrey Cokayne Gibbs KCMG and his wife Helen Margaret Leslie CBE, and his elder brother is the financier Sir Roger Gibbs. He was educated at Eton College, from which he was expelled for being generally totally impossible, Stanbridge Earls School, a style leader in 1960s London, Gibbs is credited with fellow Old Etonian Robert Fraser with inventing Swinging London. He has been said to be the first man to wear flared trousers in 1961 and his style has been described as a kind of louche dandyism, while others have described him as a latter-day Beau Brummell. At the same time, Gibbs was running his own antiques business and he brought back Moroccan brass lamps, carpets, soft furnishings and other things that came to characterise the hippie look. Gibbs was a friend of the Rolling Stones and his upper-class background was of interest to Mick Jagger and it was at one of Gibbs Cheyne Walk, Chelsea, dinner parties that Jagger whispered to the fashion designer Michael Fish, Im here to learn how to be a gentleman. In 1967, Gibbs was at Keith Richardss country house, Redlands, in West Wittering, and in 1968, Gibbs introduced Prince Rupert Loewenstein, then working in London as a merchant banker, to Jagger. Loewenstein went on to become the Stones business manager until 2007, Gibbs was the set designer on the 1970 film Performance, directed by Donald Cammell and Nicolas Roeg and starring James Fox and Mick Jagger. He is godfather to one of Jaggers children, in 1972, Gibbs bought Davington Priory, a former Benedictine nunnery Davington, Kent, built in 1153. It was there that David Litvinoff lived from 1972 until 1975 when he committed suicide through an overdose of pills, Gibbs sold Davington Priory in 1982. It is now owned by Bob Geldof, in 2006, a painting Gibbs had bought in 1974 for £2,800 was put up for sale by Sothebys with an estimate of £2–3 million. It had taken experts, led by Gibbs friend Sir Roy Strong,30 years to complete the authentication of the work as a long lost masterpiece by Hans Holbein of Thomas Wyatt the Younger, the painting failed to sell after it was leaked that Tate Britain doubted its authenticity. In 2007 it appeared for sale at $10 million on a stand at the Maastricht Art Fair after the attribution to Holbein was accepted by the TEFAF vetting committee. Gibbs played a key role in persuading his friend John Paul Getty, after Gettys death in 2003, Gibbs became chairman of the J. Paul Getty Jr. Charitable Trust, set up to manage Gettys estate and he is also a trustee of the American Friends of the National Gallery
21.
Franco Zeffirelli
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Franco Zeffirelli, KBE Grande Ufficiale OMRI is an Italian director and producer of operas, films and television. He is also a senator for the Italian centre-right Forza Italia party. Recently Italian researchers have found that he is one of the few distant relatives of Leonardo da Vinci, some of his operatic designs and productions have become worldwide classics. He is also known for several of the movies he has directed, especially the 1968 version of Romeo and Juliet and his 1967 version of The Taming of the Shrew with Elizabeth Taylor and Richard Burton remains the best-known film adaptation of that play as well. His miniseries Jesus of Nazareth won acclaim and is shown on Christmas. He was awarded the Premio Colosseo in 2009 by the city of Rome, Zeffirelli was born Gianfranco Zeffirelli in the outskirts of Florence, Italy. He was the result of an affair between Alaide Garosi, a designer, and Ottorino Corsi, a wool and silk dealer. Since both were married, Alaide was unable to use her surname or Corsis for her child and she came up with Zeffiretti which are the little breezes mentioned in Mozarts opera Idomeneo, of which she was quite fond. However, it was misspelled in the register and became Zeffirelli and he graduated from the Accademia di Belle Arti Firenze in 1941 and, following his fathers advice, entered the University of Florence to study art and architecture. After World War II broke out, he fought as a partisan, before he met up with British soldiers of the 1st Scots Guards and became their interpreter. After the war, he re-entered the University of Florence to continue his studies, but when he saw Laurence Oliviers Henry V in 1945, he directed his attention toward theatre instead. While working for a painter in Florence, he was introduced to and hired by Luchino Visconti, who made him the assistant director for the film La Terra trema. Viscontis methods had an impact upon Zeffirellis later work. He also worked with such as Vittorio De Sica and Roberto Rossellini. In the 1960s, he made his name designing and directing his own plays in London and New York, Taylor and Burton helped fund production and took a percentage of the profits rather than their normal salaries. While editing The Taming of the Shrew, Zeffirellis native Florence was devastated by floods, a month later, Zeffirelli released a short documentary, Florence, Days of Destruction, to raise funds for the disaster appeal. Zeffirellis major breakthrough came the year after when he presented two teenagers as Romeo and Juliet, the movie is still immensely popular and was for many years the standard adaptation of the play shown to students. This movie also made Zeffirelli a household name - no other subsequent work by him had the impact of Romeo
22.
George Tsypin
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George Tsypin is an American stage designer, sculptor and architect. He was a director, production designer and coauthor of the script for the Opening Ceremony of the Olympic Games in Sochi in 2014. Tsypin was born in Kazakhstan ) and he studied architecture in Moscow and theater design in New York. He has a creative association with the conductor Valery Gergiev. He has won awards, including the International Competition of New. Tsypin has worked in all theaters in the United States, as well as in film. His sculpture received its first one-man gallery show in 1991 at the Twining Gallery in New York and he created the Planet Earth Gallery, one of the Millennium Projects in England, a major installation of moving architectural elements, videos and 200 sculptures. Tsypin was chosen to exhibit his work at the Venice Biennale in 2002 and his monograph, GEORGE TSYPIN OPERA FACTORY, Building in the Black Void, was published by Princeton Architectural Press in 2005. Tsypins Broadway debut as a set designer for a musical was Disney Theatricals production of The Little Mermaid and he designed the set for the new musical Spider-Man, Turn Off the Dark for which he won Outer Critics Award and received Tony Award nomination. He designed the SeaGlass Carousel for Battery Park next to the World Trade Center site, George lives in New York with his wife Galina. He has two daughters, Allie and Sonja, Allie is a director of videos, Sonja is a cinematography student at the American Film Institute in Los Angeles. Inside George Tsypin Opera Factory by Lucy Lu, Peking,2012
23.
Inigo Jones
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Inigo Jones was the first significant English architect in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. As the most notable architect in England, Jones was the first person who introduced the classical architecture of Rome and he made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson. Beyond the fact that he was born in Smithfield, London, the son of Inigo Jones, a Welsh cloth worker, at some point before 1603 a rich patron sent him to Italy to study drawing after being impressed by the quality of his sketches. From Italy he travelled to Denmark where he worked for King Christian on the design of the palaces of Rosenborg and Frederiksborg, Jones first became famous as a designer of costumes and stage settings, especially after he brought masques to the stage. Under Queen Annes patronage he is credited with introducing movable scenery and this development suggests a second visit to Italy, circa 1606, influenced by the ambassador Henry Wotton. Jones learned to speak Italian fluently and there is evidence that he owned an Italian copy of Andrea Palladios I quattro libri dellarchitettura with marginalia that refer to Wotton and his architectural work was particularly influenced by Palladio. To a lesser extent, he held to the architectural principles of the ancient Roman writer Vitruvius. Joness first recorded architectural design is for a monument to Lady Cotton, circa 1608 and he devised a masque for the Prince and was possibly involved in some alterations to St Jamess Palace. On this trip, Jones was exposed to the architecture of Rome, Padua, Florence, Vicenza, Genoa and his surviving sketchbook shows his preoccupation with such artists as Parmigianino and Schiavone. He is also known to have met Vincenzo Scamozzi at this time and he was probably the first Englishman to study these Roman remains first hand and this was key to the new architecture Jones introduced in England. In September 1615, Jones was appointed Surveyor-General of the Kings Works, fortunately, both James I and Charles I spent lavishly on their buildings, contrasting hugely with the economical court of Elizabeth I. As the Kings Surveyor, Jones built some of his key buildings in London, in 1616, work began on the Queens House, Greenwich, for James Is wife, Anne. With the foundations laid and the first storey built, work stopped suddenly when Anne died in 1619, work resumed in 1629, but this time for Charles Is Queen, Henrietta Maria. It was finished in 1635 as the first strictly classical building in England, employing ideas found in the architecture of Palladio and this is Joness earliest surviving work. The Banqueting House was one of several projects where Jones worked with his personal assistant, the Queens Chapel, St. Jamess Palace, was built between 1623 and 1627, for Charles Is Roman Catholic wife, Henrietta Maria. Parts of the design originate in the Pantheon of ancient Rome and these buildings show the realisation of a mature architect with a confident grasp of classical principles and an intellectual understanding of how to implement them. The other project in which Jones was involved is the design of Covent Garden square and he was commissioned by the Earl of Bedford to build a residential square, which he did along the lines of the Italian piazza of Livorno. It is the first regularly planned square in London, the Earl felt obliged to provide a church and he warned Jones that he wanted to economise
24.
Jean-Pierre Ponnelle
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Jean-Pierre Ponnelle was a noted French opera director. He studied philosophy, art, and history there and, in 1952 and he was greatly influenced by the work of art director Georges Wakhévitch who also designed sets and costumes for the theatre, the ballet, and the opera. In 1962, Ponnelle directed his first production of Richard Wagners Tristan und Isolde in Düsseldorf and his production of that opera at the Bayreuth Festival in 1981 was widely praised as one of the most aesthetically beautiful in its history. His 1969 production of Mozarts then neglected La Clemenza di Tito for Cologne helped re-establish this work in the repertory, Ponnelle also was a frequent guest at the Salzburg Festival. His son is the orchestra conductor Pierre-Dominique Ponnelle and his nephew is Jean Pierre Danel, Conductor - Wolfgang Sawallisch, Bavarian State Opera and Chorus. Singers, Donald McIntyre, Maria de Francesca-Cavazza, Robert Schunk, DVD, DGG004400734324 Massenet, Manon ♦. Conductor - Ádám Fischer, Chor und Orchestre der Wiener Staatsoper, singers, Edita Gruberova, Francisco Araiza, Pierre Thau, Hans Helm. DVD, DGG044007342077 Monteverdi, LOrfeo ♦, Conductor - Nikolaus Harnoncourt, Das Monteverdi-Ensemble des Opernhauses Zürich. Singers, Philippe Huttenlocher, Dietlinde Turban, Trudeliese Schmidt, Francisco Araiza, DVD, DGG044007341636 Monteverdi, Il ritorno dUlisse in Patria ♦. Conductor - Nikolaus Harnoncourt, Das Monteverdi-Ensemble des Opernhauses Zürich, singers, Werner Hollweg, Trudeliese Schmidt, Francisco Araiza, Janet Perry. DVD, DGG044007342787 Monteverdi, Lincoronazione di Poppea ♦, Conductor - Nikolaus Harnoncourt, Das Monteverdi-Ensemble des Opernhauses Zürich. Singers, Rachel Yakar, Werner Hollweg, Trudeliese Schmidt, Paul Esswood, DVD, DGG044007341742 Mozart, Mitridate, re di Ponto ♦. Conductor - Nikolaus Harnoncourt, Concentus Musicus, Wien, singers, Gösta Winbergh, Yvonne Kenny, Ann Murray, Anne Gjevang, Joan Rodgers, Peter Straka. DVD, DGG044007341278 Mozart, Idomeneo ♦, Conductor - James Levine, The Metropolitan Opera Orchestra and Chorus. Singers, Luciano Pavarotti, Ileana Cotrubas, Hildegard Behrens, Frederica von Stade, DVD, DGG044007342343 GH2 Mozart, Le Nozze di Figaro ♦. Conductor - Karl Böhm, Vienna Philharmonic, singers, Hermann Prey, Mirella Freni, Dietrich Fischer-Dieskau, Kiri Te Kanawa, Maria Ewing, Paolo Montarsolo. DVD, DGG044007340349 Mozart, Così fan Tutte ♦, Conductor - Nikolaus Harnoncourt, Vienna Philharmonic. Singers, Edita Gruberova, Delores Ziegler, Teresa Stratas, Luis Lima, Ferruccio Furlanetto, DVD, DGG044007342374 Mozart, Die Zauberflöte ♦
25.
Jo Mielziner
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Joseph Jo Mielziner was an American theatrical scenic, and lighting designer born in Paris, France. He was described as the most successful set designer of the Golden era of Broadway, Jo Mielziner was the son of artist Leo Mielziner, Sr. and Ella, a writer. Mielziner was the brother of actor-director Kenneth MacKenna and he studied painting at the Art Students League and the Pennsylvania Academy of the Fine Arts. His brother recruited him as a manager for summer stock. With fellowships he received from the Pennsylvania Academy, he had the opportunity to set design in Paris, Vienna. Additionally, he served as an apprentice to Robert Edmond Jones and he pioneered selective realism in scenic design. According to his obituary, he was praised most often. for his sweeping canvas of people under the Brooklyn Bridge. Mielziners Broadway debut as a designer was in 1927 with The Guardsman, for which he designed the scenery and his other Broadway credits include the original productions of Sweet and Low, Of Thee I Sing, Another Part of the Forest, Winterset, Oh, Captain. He won the Academy Award for best color art direction for his work on Picnic, in the course of his career, Mielziner won seven Tony Awards and was nominated for another five. He also won the Drama Desk Award for Outstanding Set Design and his influence extended outside of the theatre. Mielziner designed the theater at Wake Forest University and co-designed the Vivian Beaumont Theater at Lincoln Center with architect Eero Saarinen and he resided for many years at The Dakota and can be seen working in his studio in an exterior shot in the film Rosemarys Baby. He died on March 15,1976, in a New York taxicab four days before his 75th birthday and he was rushing between meetings for The Bakers Wife, a musical for which he was designing. Mielziner was of both Jewish and Christian ancestries, though he converted to Roman Catholicism under the influence of Bishop Fulton J. Sheen and he was married three times, all of which were tumultuous, though only two ended in divorce. His first wife, Marya Mannes, a critic, was unfaithful to him. Annie Laurie Jacques, an actress and Mielziners his second wife had problems with substance abuse, though, as a Roman Catholic, he could not divorce his third wife, their relationship ended due to Mielziners relationship with Sheens private secretary. Director Mike Nichols stated that he felt he needed Mielziners original set because it was connected with the way the play developed. He went on to say he has never seen anything near as good in any of the productions of Salesman because its everything and nothing
26.
Ken Adam
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Sir Kenneth Hugo Adam, OBE was a British movie production designer, best known for his set designs for the James Bond films of the 1960s and 1970s, as well as for Dr. Strangelove. He won two Academy Awards for Best Art Direction, Adam was born in Berlin to a Jewish family, the son of a former Prussian cavalryman. He was the son of Lilli, who operated a house, and Fritz Adam. The company S. Adam was established in 1863 by Saul Adam, Adam was educated at the Französisches Gymnasium Berlin, and the family had a summer house on the Baltic. The same year the Nazi Party rose to power, the shop went bankrupt. Adam watched the Reichstag fire from the Tiergarten, the family relocated to England in 1934. Adam was 13 years old when his family moved to England and he went to St. Pauls School in London, and then attended University College London and Bartlett School of Architecture, training to be an architect. When World War II began, the Adam family were German citizens, Adam was seconded to design bomb shelters. In 1940, Adam successfully applied to join the Royal Air Force Volunteer Reserve as a pilot, Adam was trained as a pilot by British actor Michael Rennie, and was one of only three German-born pilots in the wartime RAF. As such, if he had captured by the Germans, he was liable to execution as a traitor. Flight Lieutenant Adam joined No.609 Squadron at RAF Lympne on 1 October 1943 and he was nicknamed “Heinie the tank-buster” by his comrades for his daring exploits. The squadron flew the Hawker Typhoon, initially in support of USAAF long-range bombing missions over Europe, later they were employed in support of ground troops, including at the battle of the Falaise Gap, in Normandy after D-Day. In 1944, his brother Denis joined No.183 Squadron, Adam entered the film industry as a draughtsman on This Was a Woman. He met his Italian wife Maria Letizia while filming in Ischia and his first major screen credit was as production designer on the British thriller Soho Incident. In the mid-1950s, he worked on the epics Around the World in 80 Days and Ben-Hur, directed by William Wyler. His first major credit was for the film, Night of the Demon, directed by Jacques Tourneur. He was hired for the first James Bond film, Dr. No, for Stanley Kubricks Dr. Strangelove, his work was described by the British Film Institute as gleaming and sinister. Steven Spielberg even called it, the best set thats ever been designed and this enabled Adam to make his name with his innovative, semi-futuristic sets for further James Bond films, such as Goldfinger, Thunderball, You Only Live Twice, and Diamonds Are Forever
27.
Natalia Goncharova
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Natalia Sergeevna Goncharova was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. Natalia Sergeevna Goncharova was born on June 21,1881, in Nagaevo and her father, Sergei, was an architect and graduate of the prestigious Moscow Institute of Painting, Sculpture and Architecture. Goncharova moved to Moscow at the age of 10 in 1892, in 1901 Goncharova began her own studies at the Moscow Institute of Painting, Sculpture and Architecture as a sculptor, under Pavel Trubetskoi, who was associated with the World of Art movement. By 1903, she began exhibiting in major Russian salons and she was awarded a silver medal for sculpture in 1903-04. It was at the Moscow Institute that Goncharova met fellow-student Mikhail Larionov, Goncharova drew inspirations for primitivism from Russian icons and folk art, otherwise known as luboks. The Donkeys Tail was conceived as a break from European art influence. Goncharova and her counter-part, Larionav, were harassed for their artwork. However, the influence of Russian Futurism is much in evidence in Goncharovas later paintings, initially preoccupied with icon painting and the primitivism of ethnic Russian folk-art, Goncharova became famous in Russia for her Futurist work such as The Cyclist and her later Rayonist works. Goncharova and Larionav painted hieroglyphics and flowers on their faces and walked the streets as a part of a primitivist art movement, Goncharova herself sometimes appears topless in public with symbols on her chest. As leaders of the Moscow Futurists, they organized provocative lecture evenings in the vein as their Italian counterparts. Goncharova was also involved with graphic design—writing and illustrating several avant-garde books and she started to exhibit at the Salon dAutomne since 1906. Goncharova was a member of the Der Blaue Reiter avant-garde group from its founding in 1911, in 1915, she began to design ballet costumes and sets in Geneva. In 1915 she started work on a series of designs—Six Winged Seraph, Angel, St. Andrew, St. Mark, Nativity, and others—for a ballet commissioned by Sergei Diaghilev to be titled Liturgy. Also involved in the project, for which Igor Stravinsky was invited to compose the score, were Larionov and Léonide Massine, Goncharova moved to Paris in 1921 where she designed a number of stage sets of Diaghilevs Ballets Russes. She also exhibited at the Salon dAutomne in 1921, and participated regularly at the Salon des Tuileries, Goncharova and Larionav collaborated on four charity events in Moscow. These events were The Grand Bal des Aristes, The Bal Banal, The Bal Olympique and they both designed much of the publicity materials for the event. Between 1922 and 1926 Goncharova created fashion designs for Marie Cuttolis shop, Maison Myrbor on the Rue Vincent and her richly embroidered and appliquéd dress designs were strongly influenced by Russian folk art, Byzantine mosaic and her work for the Ballets Russes. In 1938 Goncharova became a French citizen, on June 2,1955, four years after Larionov suffered a stroke, the two artists got married in Paris to safeguard their rights of inheritance
28.
Nathan Altman
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Nathan Isaevich Altman was a Jewish, Russian and Soviet avant-garde artist, Cubist painter, stage designer and book illustrator. He was born in Vinnytsia, in the Podolia Governorate of the Russian Empire to a family of Jewish merchants, from 1902 to 1907, he studied painting and sculpture at the Art College in Odessa. In 1906, he had his first exhibition in Odessa, in 1910, he went to Paris, where he stayed for one year. He studied at the Free Russian Academy in Paris, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, in 1910, he became a member of the group Soyuz Molodyozhi. In 1912, Altman moved to Saint Petersburg and his famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. From 1915 to 1917, Nathan Altman was the teacher at Mikhail Bernsteins private art school, after 1916 he started to work as a stage designer. In 1918, he was the member of the Board for Artistic Matters within the Department of Fine Arts of the Peoples Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In this same year, he installed a work of architectural sculpture in Palace Square to commemorate the 1st anniversary of the October Revolution. The canvas was cut up and used for soldiers foot bindings. In 1920, he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin, in the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. In 1921, he moved to Moscow, from 1921 to 1922 he was director of the Museum of Painterly Culture in Petrograd. From 1920 to 1928, he worked on designs for the Habimah Theatre. In 1923 a volume of his Jewish graphic art, Evrejskaja grafika Natana Altmana and his first solo exhibition in Leningrad was in 1926. Altman moved to Paris in 1928, in 1936, he returned to Leningrad. He worked mainly for the theatre, as a book illustrator, Nathan Altman died in Leningrad aged 81. Oil on canvas mounted on cardboard, the Russian Museum, St. Petersburg, Russia. The Russian Museum, St. Petersburg, Russia, the Russian Museum, St. Petersburg, Russia Portrait of a Young Jew
