52 Sentences With "non naturalistic" | Random Sentence Generator

I thought it was elegant, a bit Japanese, and non-naturalistic.

Cannon was particularly drawn to the Fauvists and their expressive, non-naturalistic, use of colour.

But, throughout the history of art, and most evidently outside the West, color has carried with it a heavy freight of non-naturalistic value.

There were exceptions, of course, but not a lot of encouragement for fiction writers working against traditional forms or using non-naturalistic ways of telling stories.

Another pleasure is see what happens when he limits his non-naturalistic palette to different sets of four or five colors, including black and white, while exploring the same composition.

Some of his landscapes appear to be more conventional than Futurist, e.g. his Hillside Landscape (1925). Others are dramatic and lyrical, e.g. The Miracle of Light (1931-2), which employs his characteristic high viewpoint over a schematised landscape with patches of brilliant colour and a non-naturalistic perspective reminiscent of pre- Renaissance painting; over the whole are three rainbows, in non-naturalistic colour.

108, 112 Although Potter effectively disowned the play, excluding it from his Who's Who entry,W. Stephen Gilbert, The Life and Work of Dennis Potter, p.107n it used non- naturalistic dramatic devices (in this case breaking the fourth wall) which would become hallmarks of Potter's subsequent work.

It utilised non-Naturalistic techniques, surrealistic physical imagery, and exercised a flexible use of language. Playwrights writing in the mid-1970s made use of some of these techniques, but articulated them with "a radical appreciation of the problems of society."Banham, Hill, and Woodyard (2005, 70). Traditional performance modes have strongly influenced the major figures in contemporary Nigerian theatre.

Seeking to convey the music's fusion of organic and technological, the polar bear was animated in a non-naturalistic fashion; the bear also embodies the ferocious hunter the lyrics represent. The song's video garnered acclaim from critics. Björk has performed "Hunter" on Later... with Jools Holland and in five of her tours, the most recent being the Vulnicura Tour.

Most notably, however, below these dogs are the ibex, or mountain goat, motifs seen on the beaker. The goat is native to the Zagros Mountain range near Susa. The ibex is portrayed in a non-naturalistic way, with the use of simple shapes, such as triangles. The horns of the goat arch back over itself, forming a circle over its body.

He also changed its ending, substituting a lezginka dance performed by Zaira to select who will sacrifice himself to stop the armoured train. Anzor was first performed in 1928 at the Rustaveli Theatre in Tbilisi in a non-naturalistic production directed by Sandro Akhmeteli, with a constructivist scenic design by Irakli Gamrekeli.Rayfield (2000, 246) and Rudnitsky (1988, 268, 288). Akaki Khorava played Anzor.

Condé and Beveridge utilize actors, staged tableaux, montage, thematic slogans, captions, and the construction of emblematic props and non-naturalistic sets to generate an atmosphere of serious visual expression grounded in theoretical and ethical contexts. Their work expresses the fundamental principal that art is a social transaction that becomes a participatory, collaborative process, communicating and articulating commonalities and differences shared by all.

Condé and Beveridge utilize actors, staged tableaux, montage, thematic slogans, captions, and the construction of emblematic props and non- naturalistic sets to generate an atmosphere of serious visual expression grounded in theoretical and ethical contexts. Their work expresses the fundamental principal that art is a social transaction that becomes a participatory, collaborative process, communicating and articulating commonalities and differences shared by all.

In the late 1930s he was the camera operator to Eugene Shufftan on Marcel Carné's Quai des Brumes and Drôle de drame . He was greatly influenced by Schufftan's non-naturalistic style. His first success as a director of photography was René Clément's realistic war drama La Bataille du Rail of 1946. In the same year he worked on Jean Cocteau's fable La Belle et la Bête.

He believes that this judgement has doubtful credibility relevant to the onlooker. He adds that it is a non‐naturalistic form of moral realism. Harman compares it with the example of a scientist. While a scientist performs an experiment where a vapor forms at the cloud chamber and scientist declares the emulsion of a proton as something very recent- everyone will demand the proof and correctness of the statement.

" Nevertheless, while Wilson's "work is non-naturalistic and largely fantastical, it is based on concrete principals (sic) about the way we live." Wilson often sought to fuse social criticism with a surrealistic, comic style. He said in 1978, "I think, well, you have to laugh, don't you? With all the dreadful, dreadful things going on I think of that as my way of keeping a grasp on my own sensibilities.

Love Is Colder Than Death is a low key film with muted tone, long sequences, non-naturalistic acting and little dialogue. Success was not immediate. Love Is Colder Than Death was ill- received at its premiere at the Berlin Film Festival. The film, however, already displays the themes that were to remain present through the director's subsequent work: loneliness, the longing for companionship and love, and the fear and reality of betrayal.

Natural philosophy has its origins in Greece during the Archaic period (650 BCE – 480 BCE), when pre-Socratic philosophers like Thales rejected non-naturalistic explanations for natural phenomena and proclaimed that every event had a natural cause. They proposed ideas verified by reason and observation, and many of their hypotheses proved successful in experiment; for example, atomism was found to be correct approximately 2000 years after it was proposed by Leucippus and his pupil Democritus.

His paintings of such sports as horse racing and boxing made him particularly popular, but Blackshaw was also a talented portrait painter. Dolly, painting by Basil Blackshaw Blackshaw's paintings are often figurative in form, but with a non-naturalistic palette which re-balances the composition in an expressionist, even abstract, way. His themes are very Irish and often rural; greyhounds, Irish Travellers, and the landscape. He also produced portraits and has designed posters for Derry's Field Day Theatre Company.

Macmillan, "Culture: modern times 1914–", in M. Lynch, ed., Oxford Companion to Scottish History (Oxford: Oxford University Press, 2011), , pp. 153–4. and their art was characterised by use of vivid and often non-naturalistic colour and the use of bold technique above form. Members included William Gillies (1898–1973), who worked in both watercolours and oils around Ardnamurchan and Morar in the 1930s, John Maxwell (1905–62) whose landscapes were influenced by mythological themes,MacDonald, Scottish Art, pp. 182–3.

His fourth play, Looking at You (revived) Again commissioned originally by the National Theatre Studio, continued with the lyrical aspects of the previous plays but with a more economical technique . It followed a simple story but had a more or less non-naturalistic lyrical form. Rejected by Peter Gill, the then artistic director of the National Theatre Studio, it did not receive a rehearsed reading. It was produced by Simon Usher at the Leicester Haymarket in June 1989, during the period of David Gothard's co-artistic directorship.

Die Brücke is sometimes compared to the roughly contemporary French group of the Fauves. Both movements shared interests in primitivist art and in the expressing of extreme emotion through high-keyed colors that were very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. The Die Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings made their French counterparts, the Fauves, seem tame by comparison.

One of the museum's most famous exhibits—originally the work of Tzigara-Samurcaș—is "the house in the house". The house, which originally belonged to peasant Antonie Mogos of Ceauru village in Gorj County. From the first, the house was displayed in a non- naturalistic way: objects that would normally be in the interior were displayed in various manners outside; outbuildings were suggested by fragments. The Communist regime displayed the house much more conventionally, outdoors at the Village Museum; it returned to the Peasant Museum in 2002.

The current display at the Peasant Museum revives the original non-naturalistic approach. For example, from a platform, museum visitors may peer into the attic, part of whose wall is stripped away; various objects are arranged inside."The house in the house", wall text, Museum of the Romanian Peasant. In 2002, the museum's exhibit space was greatly expanded as the museum store and offices moved into a new building behind the old one, freeing up a considerable amount of floor space in the museum proper.

Things I Know To Be True is a theatre production produced by The State Theatre Company South Australia and Frantic Assembly, directed by Geordie Brookman and Scott Graham. It was written by Andrew Bovell and features the music of Nils Frahm. The play is naturalistic but features a great use of non-naturalistic physical movement to emphasise the emotional connection between the characters - following the story of the Price Family and their problems. The play is set in Adelaide, Australia, which is where the play held its World Premiere in May 2016.

Babylonian astrology, with the important development of horoscopic astrology, is mentioned as a major contribution of Babylonian civilization. Egyptian and Babylonian medicine are described as systemizations of diagnoses, which often included non-naturalistic formulations.David C. Lindberg, The Beginnings of Western Science: The European Scientific Tradition in Philosophical, Religious, and Institutional Context, 600 B.C. to A.D. 1450, 2007 edition, 1-20. Greek science first covers the philosophies of the pre- Socratics, Plato and Aristotle, after which the narrative continues with the Hellenistic philosophical schools, the Academy, the Lyceum, the Epicureans and the Stoics.

They were John Duncan Fergusson, Francis Cadell, Samuel Peploe and Leslie Hunter, who placed an emphasis on colour above form. The group of artists connected with Edinburgh, most of whom had studied at Edinburgh College of Art during or soon after the First World War, became known as the Edinburgh School. They were influenced by French painters and the St. Ives School and their art was characterised by use of vivid and often non- naturalistic colour and the use of bold technique above form. Members included William Gillies, John Maxwell, William Crozier and William MacTaggart.

This conclusion was induced by the attribute the Plomin tablet figure hold in his hand. Fučić was unable to identify the object in the (back then) available repertoire of Roman plastics attributes that would match with the attribute of Plomin tablet figure. These were not fork or a fish gig but a three-leaved branch, a symbol of vegetation; it must have been an abbreviation for the conception of vegetation. Christian iconography can interpret that attribute by a palm branch—of course, in a stylised, non-naturalistic form—and palm is a symbol of martyrs.

Kelly said that writing for TV and theatre is very unusual as Pulling is a comedy and not theatrical unlike his plays which are serious and often non-naturalistic. Kelly said "telling people from the world of TV that I also inhabit the world of theatre is something I've begun to avoid." Despite very good reviews and good ratings Pulling was cancelled in 2007. The decision by the BBC was much criticised and Kelly and Horgan claimed to have cried and threw themselves at their feet over the decision.

The early paintings, 1958 to 1964, are intimate Cartesian dreams. From 1964 to 1971, involvement with Joycean myth brought imaginative, outgoing, precisely measured, and strikingly large abstract narrative constructions. Still working in the non- representational vocabulary of abstraction, there was a shift in the early '70s to loose, open, emotionally charged dramatic confrontations. The years 1985 to 1995 produced “Comic Allegories,” a group of non-naturalistic narrative paintings provoked by changing situations in the world. They represent the artist’s only excursion into figuration. “Charms,” completed in 2005, are paintings of sensual order.

The use of color, shape, and line in Vision After the Sermon is appreciated for its bold manner of handling paint. Finding inspiration in Japanese woodblock prints from Hiroshige and Hokusai, which he owned, Gauguin developed the idea of non-naturalistic landscapes. He applies large areas of flat color to the composition, and the red ground departs from conventional representation of earth, field, or grass. In portraying the watching figures Gauguin experiments with the distortion of shapes, exaggerating features, and use of strong contour lines rather than gradual shifts in tone that most painters practiced.

He also experimented with asynchronous > audio tricks, as in the famous scene in which a chase after a coat is > synched to the cheers of an invisible football (or rugby) crowd.Crafton > (1997), p. 377. These and similar techniques became part of the vocabulary of the sound comedy film, though as special effects and "color", not as the basis for the kind of comprehensive, non-naturalistic design achieved by Clair. Outside of the comedic field, the sort of bold play with sound exemplified by Melodie der Welt and Le Million would be pursued very rarely in commercial production.

43, Woman with a Hat was at the center of the controversy that led to the term Fauvism. It was also a painting that marked a stylistic shift in the work of Matisse from the Divisionist brushstrokes of his earlier work to a more expressive style. Its loose brushwork and "unfinished" quality shocking viewers as much as its vivid, non-naturalistic colors. Although the Fauve works on display were condemned by many—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair—they also gained some favorable attention.

As the sketch closes, the Germans dispute the call, as the match commentator says: "Hegel is arguing that the reality is merely an a priori adjunct of non-naturalistic ethics, Kant via the categorical imperative is holding that ontologically it exists only in the imagination, and Marx is claiming it was offside." The replay proves that, according to the offside rule, Socrates was indeed offside, but the sketch, nevertheless, states that the Greeks have won. The names of the Greek philosophers in the line-up are displayed in German in the sketch. Despite the sketch, Wittgenstein was in fact Austrian and not German.

Her most recent book is The Posthuman (Polity Press, 2013). The PosthumanThe Posthuman, Polity Press, 2013 offers both an introduction and major contribution to contemporary debates on the posthuman. As the traditional distinction between the human and its others has blurred, exposing the non-naturalistic structure of the human, The Posthuman starts by exploring the extent to which a post-humanist move displaces the traditional humanistic unity of the subject. Rather than perceiving this situation as a loss of cognitive and moral self-mastery, Braidotti argues that the posthuman helps us make sense of our flexible and multiple identities.

In 1967, Svoboda created one of his best known special effects, a three-dimensional pillar of light. This was created by the use of an aerosol mixture which revealed low-voltage luminaries. Josef Svoboda considered himself a scenographer rather than a designer; he chose to show a more holistic, architectural, non-naturalistic approach to design. His 700-plus designs include Insect Comedy (Czech National Theatre, 1946); Rusalka (Teatro La Fenice, Venice, 1958); Carmen (Metropolitan Opera, New York City, 1972); The Firebird (Royal Danish Theatre, Copenhagen, 1972); I Vespri Siliciani (Metropolitan Opera, 1974); Jumpers (Kennedy Center, 1974), many of them realized together with the opera director Václav Kašlík.

Caryl Churchill (born 3 September 1938) is a British playwright known for dramatising the abuses of power, for her use of non-naturalistic techniques, and for her exploration of sexual politics and feminist themes.Caryl Churchill profile, Encyclopædia Britannica; accessed 26 January 2018. Celebrated for works such as Cloud 9 (1979), Top Girls (1982), Serious Money (1987), Blue Heart (1997), Far Away (2000), and A Number (2002), she has been described as "one of Britain's greatest poets of and innovators for the contemporary stage". In a 2011 dramatists' poll by The Village Voice, five out of the 20 polled writers listed Churchill as the greatest living playwright.

Abandoning the operatic form modelled on Charles Silva and Sarachhandra crystallization of the Nadagam, he branched out on a new line which tried to fuse the inner- directed acting style that he had imbibed in Broadway with the non- naturalistic native tradition. In 1962, he produced a milestone in Sri Lankan theatre, Muduputtu (Sons of the Seas), showing that the traditional stylistic theatre could be blended very effectively with western realistic technique. Following this, he was at the forefront of Sri Lankan theatre and his productions launched the careers of many talented actors. He was called upon to represent Sri Lanka at United Nations conferences and other international activities.

Paraskos's style of painting is figurative but non-naturalistic, and he uses bright colours to describe scenes which often seem rooted in his childhood in Cyprus. He is also influenced by the Byzantine church art of Cyprus, and modern masters, such as Paul Gauguin and Henri Matisse. Works include Pagan Spring in the State Gallery of Contemporary Art in Nicosia, Lovers and Romances in the Tate Gallery in London, and Bathing, in the collection of the Arts Council of England. According to Dominique Auzias and Jean-Paul Labourdette Paraskos's paintings 'illustrate Cypriot rural life, the tormented history of the island, love, life, death, always in a lyrical, romantic mode.

The Playback 'form' as developed by Fox and Salas utilises component theatrical forms or pieces, developed from its sources in improvisational theatre, storytelling, and psychodrama. These components include scenes (also called stories or vignettes) and narrative or non- narrative short forms, including "fluid sculptures", "pairs", and "chorus". In a Playback event, someone in the audience tells a moment or story from their life, chooses the actors to play the different roles, and then all those present watch the enactment, as the story "comes to life" with artistic shape and nuance. Actors draw on non-naturalistic styles to convey meaning, such as metaphor or song.

Obregón was one of the first Colombian artists to comment on La Violencia. El Velorio refers to a specific event that happened on June 8 and 9 of 1954; a student uprising at the National University against the dictatorship of President Gustavo Rojas Pinilla resulted in the massacre of thirteen students by army forces. Contemporaries Ignacio Gómez Jaramillo and Enrique Grau also witnessed this event, but Obregón's painting is more abstract and more expressive than their interpretations of the same event. The departure from anecdotal issues and the use of non-naturalistic lines and colors and fragmentation of the figure with expressive purposes in El Velorio influenced other artists interested in addressing the socio-political issues during the sixties.

During 1893 the juvenile quality of his earliest work falls away, and by 1894 his career as a painter can be said to have begun. The academic realism apparent in the works of the mid-1890s is well displayed in The First Communion (1896), a large composition that depicts his sister, Lola. In the same year, at the age of 14, he painted Portrait of Aunt Pepa, a vigorous and dramatic portrait that Juan-Eduardo Cirlot has called "without a doubt one of the greatest in the whole history of Spanish painting." In 1897, his realism began to show a Symbolist influence, for example, in a series of landscape paintings rendered in non-naturalistic violet and green tones.

Primarily self-taught, he enthusiastically embraced a vigorous style using broad, rapid brushstrokes and intense, non- naturalistic colors. His home was the social center for the Six, who would follow their days of plein-air painting with critique sessions, food, and drinking. August (Gus) François Pierre Gay (1890-1948) immigrated from his native France to the United States in 1901, resided primarily with his father and three younger sisters in Alameda, California from 1903 to 1920,U.S. Census of 1910, ED 5, Sheet 11A; U.S. Census of 1920, ED11, Sheet 16B and studied at the California School of Arts and Crafts in Berkeley (1918-19) and at the California School of Fine Art in San Francisco while working at several odd jobs.

The Wuming Painting Group was an early group of contemporary Chinese artists noted for experimentation with a number of late-19th and early-20th-century Western styles including Impressionism, Post-Impressionism, and Fauvism. Although their paintings do not appear particularly radical in their treatment of content or form, the very act of painting non-revolutionary subject matter in non-naturalistic styles was not accepted by the establishment at that time. Wuming comes from two generations, diverse class backgrounds, various working positions, and some pre-existing circles of close friends. Figures of the older generation have much in common: all were born before the establishment of the PRC; all came from families defined as “class enemies” by 1950; all took entrance examinations and were rejected by art schools or academies, and all learned art largely by themselves.

Having already adapted Brimstone and Treacle for the stage after the television production was banned by the BBC, Potter set about writing a film version. Directed by Richard Loncraine, who also directed Potter's Blade on the Feather at LWT, with Denholm Elliott reprising his role of Mr. Bates from the original television production, while Sting and Joan Plowright, replaced Michael Kitchen and Patricia Lawrence in the roles of Martin Taylor and Mrs Bates respectively. Although a British film made by Potter's own production company (Pennies Productions), the casting of Sting piqued the interest of American investors. As a result, references to Mr Bates' membership of the National Front and a scene discussing racial segregation were omitted—as were many of the non- naturalistic flourishes present in the television production—although the film was much more graphic in its depiction of sexual abuse and rape.

Cosgrove "Living" 165-169 Though Hallie Flanagan repeatedly stated that Living Newspapers should be objective and unbiased, most Living Newspaper productions communicated a clear bias and a call for action from the watching audience. Second, the FTP's Living Newspapers tended to break from realistic stage conventions in favor of non-naturalistic, experimental dramaturgy and stage design. "Techniques Available to the Living Newspaper Dramatist," a guide compiled by the Federal Theatre Project in 1938, lists many of the elements that became characteristic of the Living Newspaper. These included quick scene and set changes; flexibility of stage space, using many levels, rolling and hand-carried scenery, and scrims to establish a multitude of locations without elaborate constructed sets; projection of settings, statistics, and film; shadowplay; sound effects and full musical scores; the use of a loudspeaker to narrate and comment on the action; and abrupt blackouts and harsh spotlights.

The subject of enforced, or even accidental, polygamy is explored in several Rhys Adrian works — most notably Evelyn (1969; adapted for television in 1971), which features two lovers engaged in an extra-marital and over-crowded affair. Unlike the central characters in The Foxtrot, however, the protagonists of Evelyn are unable to accept the complications of such a relationship and become increasingly alienated from each other as a result. Adrian's 1982 radio play Watching the Plays Together is an answer of sorts to both the critics who derided The Foxtrot's non-naturalistic bent and the central theme of that play, exploring the relationship between the audience and television itself. Largely comprising a conversation between a middle-aged married couple troubled by the trend towards social realism in television drama, Watching the Plays Together utilises several of the devices Adrian employed in The Foxtrot, most notably in the programme content playing out on the couple's television mirroring the characters' own preoccupations and concerns.

Double Dare explores the relationship between fact and fiction, as well as the connection between author and viewer. The doubling up of Helen and the call girl, and to a lesser extent the comparisons between Martin and the businessman, are "Potteresque" tropes that serve to challenge the audience's perspective on what they are seeing. Dialogue between Martin and Helen is often repeated verbatim in the fictional world of the businessman and the call girl (most notably the exchange about the automatic shoe polisher in the hallway outside Martin's room, which bookends Helen's arrival at the hotel and the escort heading to her client's room). Although containing very few of the non-naturalistic flourishes of his other plays, Double Dare does, however, contain one sequence where Potter deliberately breaks the artificial naturalism of the drama by having Martin question Helen if she would sleep with him if they were characters in a play before turning direct to camera and indicating an audience "somewhere out there".

Potter's work is known for its use of non-naturalistic devices. These include the extensive use of flashback and nonlinear plot structure (Casanova; Late Call), direct to camera address (Vote, Vote, Vote for Nigel Barton) and works where "the child is father to the man", in which he used adult actors to play children (Stand Up, Nigel Barton; Blue Remembered Hills). The 'lip-sync' technique he developed for his "serials with songs" (Pennies from Heaven; The Singing Detective and Lipstick on Your Collar) is perhaps the best known of the Potter trademarks. They are frequently deployed in works where the line between fantasy and reality becomes blurred, often as a result of the influence of popular culture (Willie, the Wild West obsessive played by Hywel Bennett in Where the Buffalo Roam) or from a character's apparent awareness of their status as a pawn in the hands of an omniscient author (the actor Jack Black (Denholm Elliott) in Follow the Yellow Brick Road first broadcast in 1972).

Much of Mercer's television work for the BBC was made in collaboration with the director Don Taylor. This dated from the beginning of Mercer's career as a television dramatist with the play trilogy, The Generations, an attempt to depict the decline of an idealistic form of socialism over 60 years through the members of three generations of one family. This was composed of Where the Difference Begins (1961), a tale about two brothers, one who has abandoned socialism, while the other is a Labour Party intellectual; A Climate of Fear (1962) a piece in which a scientist in Britain's nuclear programme discovers his children have joined CND; and the non-naturalistic The Birth of a Private Man (1963), an account of an activists disenchantment with protest who attempts to match left-wing attitudes with the emerging 'affluent' society. The hero of the last play dies at the Berlin Wall facing a stream of bullets from both east and west.

The play contains none of the non- naturalistic flourishes that dominate much of Potter's work, however it does contain two flashback sequences that hint at Daniel's motives in coming to the house. The first of these flashbacks shows the murder of Daniel's father as he escorts the Soviet defector to the British Embassy, while the second features the young Daniel and his father by the polar bear enclosure at London Zoo; Daniel drops a book he is carrying into the water, whereupon it is fished out by a zoo keeper and revealed to be Cloud Cape. Daniel later states to Mr Hill that he bears no malice towards Cavendish for his father's murder as their infrequent trips to the zoo are all he remembers about him. What the audience presumes to be a fond memory therefore becomes an unreliable one and ties into one of Potter's major themes of memory as a malleable source.

This is composed of two sculptures from the 1870s that Rodin found in his studio – a broken and damaged torso that had fallen into neglect and the lower extremities of a statuette version of his 1878 St. John the Baptist Preaching he was having re-sculpted at a reduced scale. Without finessing the join between upper and lower, between torso and legs, Rodin created a work that many sculptors at the time and subsequently have seen as one of his strongest and most singular works. This is despite the fact that the object conveys two different styles, exhibits two different attitudes toward finish, and lacks any attempt to hide the arbitrary fusion of these two components. It was the freedom and creativity with which Rodin used these practices – along with his activation surfaces of sculptures through traces of his own touch and with his more open attitude toward bodily pose, sensual subject matter, and non-naturalistic surface – that marked Rodin's re-making of traditional 19th century sculptural techniques into the prototype for modern sculpture.