標(biāo)題: Titlebook: American Puppet Modernism; Essays on the Materi John Bell Book 2008 Palgrave Macmillan, a division of Nature America Inc. 2008 America.Anal [打印本頁(yè)] 作者: genial 時(shí)間: 2025-3-21 18:09
書(shū)目名稱American Puppet Modernism影響因子(影響力)
作者: 倒轉(zhuǎn) 時(shí)間: 2025-3-21 23:45 作者: Exhilarate 時(shí)間: 2025-3-22 02:37
New York Puppet Modernism: Remo Bufano and Jane Heap,ding material suitable for a given type of doll and also acceptable to local audiences, hitherto unacquainted with the characteristics and traditions” of the puppet theatre.. But in his response to Joseph, Sarg sidestepped her question by citing the “exaggerated walk of the dolls, which always bring作者: BET 時(shí)間: 2025-3-22 07:00
,From Sorcery to Science: Remo Bufano and World’s Fair Puppet Theatre,ed to be a great patron of pup-pet and performing object shows, and this huge performance event marked a noteworthy climax to the growth of modern American puppet and object performance before World War Two.作者: 性上癮 時(shí)間: 2025-3-22 11:15
Beyond the Cold War: Bread and Puppet Theater at the End of the Century, and its articulation of an antinuclear future; and finally the paroxysms of George Bush’s “war on terrorism” and its concomitant invasions of Afghanistan and Iraq. As I read Carroll’s book I was struck again and again by how the pivotal events of the past century, which Carroll describes in terms o作者: ELUDE 時(shí)間: 2025-3-22 14:43
https://doi.org/10.1007/978-3-663-20241-7effectiveness as a conveyer of important ideas in education and advertising, an application that image makers have understood not only since the initial days of public relations in the early twentieth century, but also going back to originary uses of puppets for religion and ritual in cultures acros作者: 委派 時(shí)間: 2025-3-22 17:32
https://doi.org/10.1007/978-3-663-20241-7 top one, was a piece of canvas six-feet wide and 222-feet long. On this Stevens had painted thirty-six scenes that, in performance, would fill the rectangular frame, one after another. Two oil lamps placed inside the frame made the paintings glow.作者: 虛弱的神經(jīng) 時(shí)間: 2025-3-22 22:12 作者: ALIEN 時(shí)間: 2025-3-23 02:32 作者: gimmick 時(shí)間: 2025-3-23 08:58
https://doi.org/10.1007/978-3-663-20241-7 and its articulation of an antinuclear future; and finally the paroxysms of George Bush’s “war on terrorism” and its concomitant invasions of Afghanistan and Iraq. As I read Carroll’s book I was struck again and again by how the pivotal events of the past century, which Carroll describes in terms o作者: 傻 時(shí)間: 2025-3-23 12:36 作者: PACK 時(shí)間: 2025-3-23 16:27
https://doi.org/10.1007/978-3-663-20241-7redominantly on developments in the Midwest, which proved to be an uncommonly fertile ground for puppet modernism; and in the next chapter look at the somewhat different dynamics which characterized little theatre puppetry in the eastern United States, and in particular New York City.作者: 拔出 時(shí)間: 2025-3-23 21:34
The Little Theatre Movement and the Birth of the American Puppeteer: Midwest Puppet Modernism,redominantly on developments in the Midwest, which proved to be an uncommonly fertile ground for puppet modernism; and in the next chapter look at the somewhat different dynamics which characterized little theatre puppetry in the eastern United States, and in particular New York City.作者: 憂傷 時(shí)間: 2025-3-23 23:27
Book 2008hin 12 weeks. This study analyses the history of puppet, mask, and performing object theatre in the United States over the past 150 years to understand how a peculiarly American mixture of global cultures, commercial theatre, modern-art idealism, and mechanical innovation reinvented the ancient art 作者: 滔滔不絕地說(shuō) 時(shí)間: 2025-3-24 03:48 作者: Deject 時(shí)間: 2025-3-24 09:33
https://doi.org/10.1007/978-3-663-20241-7divorced from puppet and object theatre but I think that the inherent connections between global puppet traditions of many past centuries and the mechanical production of images which began in the 1800s can help us understand the way such images work, and the way that mass-media image performance has built upon existing performance practices..作者: Confound 時(shí)間: 2025-3-24 12:49
Puppets and Propaganda: 1930s Parades in New York City,at are created, displayed, or manipulated in narrative or dramatic performance”) is helpful in this respect because it allows us to consider the wide range of such activities that eschew focus on the human in favor of an artistic focus on sculpture, two-dimensional images, light, and shadow.作者: Fretful 時(shí)間: 2025-3-24 17:13
Performing Objects, Special Effects, and Mass Media,divorced from puppet and object theatre but I think that the inherent connections between global puppet traditions of many past centuries and the mechanical production of images which began in the 1800s can help us understand the way such images work, and the way that mass-media image performance has built upon existing performance practices..作者: conspicuous 時(shí)間: 2025-3-24 20:22
2947-5767 understand how a peculiarly American mixture of global cultures, commercial theatre, modern-art idealism, and mechanical innovation reinvented the ancient art of puppetry.978-1-137-28670-3978-0-230-61376-8Series ISSN 2947-5767 Series E-ISSN 2947-5775 作者: 眉毛 時(shí)間: 2025-3-25 01:50 作者: CHANT 時(shí)間: 2025-3-25 04:21
https://doi.org/10.1007/978-3-663-20241-7 represented. Stein’s unprecedented opera . (with music by Virgil Thomson) had premiered the preceding February at the Wadsworth Athenaeum in Hartford, Connecticut, after which it had moved to Broadway—a stunning example of the possible popularity of avant-garde theatre—and during Stein’s sojourn in Chicago . premiered there as well.作者: 乳汁 時(shí)間: 2025-3-25 07:31 作者: 神圣不可 時(shí)間: 2025-3-25 13:25
https://doi.org/10.1007/978-3-663-20241-7terials such as wood, leather, paper, and bone; to such “modern” materials as metal, plastic, glass, and rubber, and how the identities of these materials influence the performances created with them.作者: Armory 時(shí)間: 2025-3-25 19:16
Shalako Puppets and Nineteenth-Century Ritual,head with goggle eyes, a feathered crown, and a moveable two-piece beak that clacks like a slapstick to produce its distinctive percussive sound. The head is attached to a single vertical pole held at the waist by the puppet’s solo operator, and colorful blankets hanging from the puppet head conceal the puppeteer all the way down to his shins.作者: Guaff豪情痛飲 時(shí)間: 2025-3-25 22:44
,American Puppet Modernism in the 1930s: Gertrude Stein’s ,, represented. Stein’s unprecedented opera . (with music by Virgil Thomson) had premiered the preceding February at the Wadsworth Athenaeum in Hartford, Connecticut, after which it had moved to Broadway—a stunning example of the possible popularity of avant-garde theatre—and during Stein’s sojourn in Chicago . premiered there as well.作者: WAG 時(shí)間: 2025-3-26 02:15 作者: Microaneurysm 時(shí)間: 2025-3-26 07:03
Old and New Materials: Wood, Paper, Metal, Plastic, Bone,terials such as wood, leather, paper, and bone; to such “modern” materials as metal, plastic, glass, and rubber, and how the identities of these materials influence the performances created with them.作者: caldron 時(shí)間: 2025-3-26 08:40
https://doi.org/10.1007/978-3-663-20241-7nson and his colleagues in the 1960s, especially as a means of mass-media entertainment for all ages, as early childhood education, and as advertising. And we also mean another side of twentieth-century American puppetry, that strain initiated by Bread and Puppet Theater director Peter Schumann, who作者: lesion 時(shí)間: 2025-3-26 14:53
https://doi.org/10.1007/978-3-663-20241-7 an ingenious sense of advertising, would pull onto the main street of town riding a “l(fā)ong, covered sleigh” decorated with large translucent canvases that he had painted to depict lurid and exciting scenes from the spectacle he would present that evening: “The Panorama of the Indian Massacre of 1862作者: 讓步 時(shí)間: 2025-3-26 20:48 作者: Astigmatism 時(shí)間: 2025-3-26 21:33
https://doi.org/10.1007/978-3-663-20241-7dernist outlook and modernist techniques, in conjunction with parallel developments in the actors theatre of the time. In both actors theatre and puppet theatre, these innovations came about because of the Little Theatre Movement, which proposed a noncommercial, “serious” art theatre as the necessar作者: Assault 時(shí)間: 2025-3-27 01:09 作者: jealousy 時(shí)間: 2025-3-27 06:48
https://doi.org/10.1007/978-3-663-20241-7metimes cannot agree upon what is and isn’t a puppet. Heated discussions about whether shadow figures, special effects in film, stop-action animation, giant puppets, and toy theatre productions can actually be termed puppetry are not uncommon among puppeteers today. In addition, some artists and per作者: Mendicant 時(shí)間: 2025-3-27 10:10 作者: 織物 時(shí)間: 2025-3-27 15:46
https://doi.org/10.1007/978-3-663-20241-7ow culture. New types of puppets, or older forms of puppets in new contexts—including those from Asian as well as European traditions—had been seen in avant-garde and mainstream theatre; in political street demonstrations and consumer-oriented street parades; as advertising propaganda in department 作者: 借喻 時(shí)間: 2025-3-27 20:43
https://doi.org/10.1007/978-3-663-20241-7machines upon which audiences and operators are focused during the act of performance. But the most important development of twentieth-century object performance—and for that matter, all performance culture—was the proliferation of mechanical imagemaking by means of film, television, and computers. 作者: Geyser 時(shí)間: 2025-3-27 22:56
https://doi.org/10.1007/978-3-663-20241-7ly seen how objects representing humans or animals often appear with other types of objects: signs, emblems, and, more and more in the twentieth century, machines. In this chapter I would like to examine how one machine, the automobile, has functioned as the archetypal performing object of post-Worl作者: 刀鋒 時(shí)間: 2025-3-28 03:30 作者: Decimate 時(shí)間: 2025-3-28 08:10
https://doi.org/10.1007/978-3-663-20241-7, I would like to focus in particular on the materials used in such performances, in order to think about how the identity of those materials has helped define the ways in which modernist performance has developed. Specifically, I want to consider the shifts in object performance from traditional ma作者: 王得到 時(shí)間: 2025-3-28 13:45
American Puppet Modernism978-0-230-61376-8Series ISSN 2947-5767 Series E-ISSN 2947-5775 作者: 冷淡周邊 時(shí)間: 2025-3-28 15:00 作者: fetter 時(shí)間: 2025-3-28 22:03 作者: famine 時(shí)間: 2025-3-28 23:41 作者: Flagging 時(shí)間: 2025-3-29 06:50
Book 2008hin 12 weeks. This study analyses the history of puppet, mask, and performing object theatre in the United States over the past 150 years to understand how a peculiarly American mixture of global cultures, commercial theatre, modern-art idealism, and mechanical innovation reinvented the ancient art of puppetry.作者: 沒(méi)收 時(shí)間: 2025-3-29 07:28
Playing with Stuff: The Material World in Performance,nson and his colleagues in the 1960s, especially as a means of mass-media entertainment for all ages, as early childhood education, and as advertising. And we also mean another side of twentieth-century American puppetry, that strain initiated by Bread and Puppet Theater director Peter Schumann, who作者: Dri727 時(shí)間: 2025-3-29 13:03 作者: 錯(cuò) 時(shí)間: 2025-3-29 19:22
Shalako Puppets and Nineteenth-Century Ritual,ust have been occasions in November or December when Spanish visitors to the Zuni pueblo would have seen a communal ritual centered on the performance of larger-than-life Shalako puppets. Shalako figures are giant rod-puppets about twelve-feet tall whose prominent feature is a large wooden birdlike 作者: CUB 時(shí)間: 2025-3-29 23:16 作者: aneurysm 時(shí)間: 2025-3-30 00:08 作者: phlegm 時(shí)間: 2025-3-30 04:26
Puppets and Propaganda: 1930s Parades in New York City,metimes cannot agree upon what is and isn’t a puppet. Heated discussions about whether shadow figures, special effects in film, stop-action animation, giant puppets, and toy theatre productions can actually be termed puppetry are not uncommon among puppeteers today. In addition, some artists and per作者: 不能平靜 時(shí)間: 2025-3-30 08:24 作者: GLOSS 時(shí)間: 2025-3-30 13:11 作者: Minutes 時(shí)間: 2025-3-30 17:14 作者: 毀壞 時(shí)間: 2025-3-30 22:52
