"Piscator," a tribute to the German theater director Erwin Piscator (1893–1966), was commissioned by British Rail in 1980 prior to the company's privatization.
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As new research shows, this artist's depiction of the flight pose of the pterosaur Coloborhynchus piscator is probably wrong.
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And the only way to get on that stage was to move to New York City in 1943, where she studied with Erwin Piscator at the Dramatic Workshop and was taken to a strip club by Marlon Brando.
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He went to the city in 1946 under foster care sponsored by a charity, and was soon accepted into a dramatic workshop run by Erwin Piscator at the New School; Mr. Gazzara, Tony Curtis, Walter Matthau, Marlon Brando and other future household names went through the same program.
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With Erwin Piscator's return to West-Germany in October 1951 his wife Maria Ley-Piscator took over the school's management. In later years, Ley-Piscator sold the school to the film and theatre agent Saul C. ColinLetter of Erwin Piscator to Maria Ley-Piscator, October 26, 1960, in: Erwin Piscator. Briefe aus Deutschland. 1951–1966. An Maria Ley-Piscator.
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Piscator was theater manager of The Freie Volksbühne Berlin from 1962 until his death. In 1931, after the collapse of the third Piscator-Bühne, Piscator went to Moscow in order to make the motion picture Revolt of the Fishermen with actor Aleksei Dikiy for Mezhrabpom, the Soviet film company associated with the International Workers' Relief Organisation.Gerhard F. Probst: Erwin Piscator and the American Theatre. New York etc.: Peter Lang, 1991, p. 7.
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Quoted in: Letter from Felix Gasbarras to Erwin Piscator, 11 February 1957, in: Erwin Piscator: Letters. Volume 3.2: Bundesrepublik Deutschland, 1955–1959. produced by Peter Diezel. Berlin: B&S; Siebenhaar 2011. p.
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Johannes Piscator anticipated the foundation in writing introductory Ramist texts, Johannes Althusius and Lazarus Schöner likewise wrote respectively on social science topics and mathematics, and Piscator later produced a Ramist theology text.
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The Volksbühne Berlin, scene of Piscator's early successes as a stage director in 1924 Erwin Friedrich Max Piscator was born on 17 December 1893 in the small Prussian village of Greifenstein-Ulm, the son of Carl Piscator, a merchant, and his wife Antonia Laparose.Willett, John. 1978. The Theatre of Erwin Piscator: Half a Century of Politics in the Theatre. London: Methuen.
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As Karl's foil, Piscator made the character of Spiegelberg, often presented as a sinister figure, the voice of the working-class revolution. Spiegelberg appeared as a Trotskyist intellectual, slightly reminiscent of Charlie Chaplin with his cane and bowler hat. As he died, the audience heard The Internationale sung. Piscator founded the influential (though short-lived) Piscator-Bühne in Berlin in 1927.
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Willett (1978, 16). "Our intention," Piscator writes, "was to move toward a political message from a broad artistic base."Piscator (1980, 57). The production opened on 19 January at the Central- Theater on the Alte Jakob Strasse.
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The Piscator Experiment. The Political Theatre. New York: James H. Heineman, 1967.
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Amandus, in turn, tells Piscator of his hopeless love affair. He promises to wait until after 6 PM, when Piscator must return home, before drowning himself. Amanda arrives, and she wants to commit suicide in the river, also over a hopeless love affair. Piscator tells her she must wait, and then goes up the bank, where he has seen the carp nibble at his line.
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Ley-Piscator died in New York in 1999 at the age of 101.
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The Kurt Weill Foundation for Music's Documentation on Muschel von Margate In 1929 Piscator published his own work on the theory of theatre, The Political Theatre.Piscator (1929). In the preface to its 1963 edition, Piscator wrote that the book was "assembled in hectic sessions during rehearsals for The Merchant of Berlin" by Walter Mehring, which had opened on 6 September 1929 at the second Piscator- Bühne.Piscator (1929, vi).
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Maria Ley-Piscator (photographed by Franz Xaver Setzer) Maria Ley-Piscator (born Friederike Flora Czada, 1 August 1898 – 14 October 1999) is best known as the wife of Erwin Piscator (1893–1966), Germany's famous left-wing theater director. Born on 1 August 1898 in Vienna, Austria-Hungary (now Austria), Maria Ley sought to create a theatrical career for herself as a dancer in Paris and Berlin. Later, she turned to choreography and helped in several stage productions with Max Reinhardt, including A Midsummer Night's Dream. Maria Ley also studied literature at the Sorbonne, where she met Erwin Piscator (her third husband) during his exile in 1936.
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She trained in acting with Jeff Corey, Erwin Piscator, Lee Strasberg, and Uta Hagen at HB Studio.
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However, the project fizzled out when the Germans learned that Piscator was in danger of falling victim to the dictator's paranoia if he returned to Moscow. Piscator stayed in Paris, emigrating to the United States three years later, while Arthur Pieck appears quietly to have returned to Moscow.
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Brecht claimed in his Journal entry to have written the adaptation, but Piscator contested that; the manuscript bears the names "Brecht, Gasbarra, Piscator, G. Grosz" in Brecht's handwriting (John Willett. 1978. Art and Politics in the Weimar Period: The New Sobriety 1917–1933. New York: Da Capo Press, 1996, 110).
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Most history or genealogical books have John Fisher of Packington descending from Osbernus Piscator. Osbernus is recorded in the Doomsday Survey of 1085/86 (the first recorded census of England) as a land owner in Carlton, and Sharnbrook in Bedfordshire. His family came from Normandy, France, in about 990 AD and are recorded as living in England during the reign of Edward the Confessor (1042–1066). Osbernus Piscator's son Alanus Piscator died circa 1100 and from his descendants came Nicholas Piscator alias Fisher who died circa 1280.
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In 1937, he married dancer Maria Ley in Paris. Bertolt Brecht was one of the groomsmen. During his years in Berlin, Piscator had collaborated with Lena Goldschmidt on a stage adaptation of Theodore Dreiser's bestselling novel An American Tragedy; under the title The Case of Clyde Griffiths and with Lee Strasberg as director, it had run for 19 performances on Broadway in 1936. When Piscator and Ley subsequently migrated to the United States in 1939, Piscator was invited by Alvin Johnson, the founding president of The New School, to establish a theatre workshop.
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The term "epic theatre" comes from Erwin Piscator who coined it during his first year as director of Berlin's Volksbühne (1924–27).Wiles (1980). Piscator aimed to encourage playwrights to address issues related to "contemporary existence." This new subject matter would then be staged by means of documentary effects, audience interaction, and strategies to cultivate an objective response.
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In 2013, she also received the Erwin Piscator Honorary Award for her writing. Many of her other outstanding awards are listed below.
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Ed. by Dietger Pforte. Berlin: Argon 1990. Pp. 195–210, p. 195. In July 1936, Piscator left the Soviet Union for France.
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Rorrison (1980, 55, 354). Having aimed for "the greatest possible realism in acting and decor," Piscator described his production as "thoroughly naturalistic."Piscator (1980, 58). Herbert Ihering approved of its attempt to bring serious drama at low ticket-prices to working-class audiences, though he thought that its attention to naturalistic detail distracted from the core meaning of the play.
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Rowohlt Verlag sold the worldwide rights for a film adaptation for 300,000 Deutsche Mark in April 1963 to the French producer Georges de Beauregard and his production company "Rome Paris Films".Anonymous: Ein Kampf mit Rom. In: Der Spiegel, No. 17, April 24, 1963, pp. 78–89. – See also: letter of Hans Georg Heepe (Rowohlt Verlag) to Erwin Piscator, April 18, 1963, in: Erwin Piscator: Briefe.
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Hermann Haarmann: Politisches Theater im Geiste der Polis. Die späte Heimkehr des Erwin Piscator. In: Freie Volksbühne Berlin 1890–1990. Beiträge zur Geschichte der Volksbühnenbewegung in Berlin.
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Piscator returned to Berlin and joined the newly formed Communist Party of Germany (KPD). He left briefly for Königsberg where he joined the Tribunal Theatre. He participated in several expressionist plays and played the student, Arkenholz in the Ghost Sonata by August Strindberg. He joined Hermann Schüller in establishing the Proletarian Theatre, Stage of the Revolutionary Workers of Greater Berlin. The Piscator-Bühne in Berlin (1927–29), formerly known as Neues Schauspielhaus In collaboration with the writer Hans José Rehfisch, he formed a theatre company in Berlin at the Comedy-Theater on Alte Jacobsstrasse, following the Volksbühne ("people's stage") concept, where in 1922–1923 they staged works by Maxim Gorky, Romain Rolland and Leo Tolstoy.Willett (1978, 15–16, 46–47). As stage director at the Volksbühne (1924–1927), and later as managing director at his own theatre (the Piscator-Bühne on Nollendorfplatz), Piscator produced social and political plays especially suited to his theories. His dramatic aims were utilitarian — to influence voters or clarify left-wing policies.
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Sigfried Piscator, O.P. (1411–1473) was a Roman Catholic prelate who served as Auxiliary Bishop of Mainz (1446–1455 and 1462–1473); and Titular Bishop of Cyrene (1446–1473).
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In November 1918, when the armistice was declared, Piscator participated in the November Revolution, giving a speech in Hasselt at the first meeting of a revolutionary Soldiers' Council (Soviet).
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Piscator, also known as the Euston Head, is a large abstract sculpture by Eduardo Paolozzi. It was commissioned by British Rail in 1980 for the forecourt of Euston Station in London, and is named for the German theatre director Erwin Piscator. The sculpture is made from cast iron with an aluminium finish, and was cast by the ironfounders Robert Taylor and Co. It measures . In making the work, Paolozzi was assisted by Ray Watson.
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In a charming rural 17th century setting, near a stream and rustic bridge, Piscator arrives, looking forward to a quiet day's fishing. He is interrupted by Amandus, who wants to commit suicide by drowning himself in the river. Piscator, upset, tells Amandus that he has, throughout his life, tried to catch a particular carp at this place. If Amandus throws himself in, he will chase away the carp and spoil a lifetime of work.
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Between 1940 and 1949, The New School included the "Dramatic Workshop," a groundbreaking theater education program and predecessor of School of Drama that was founded by German emigrant theatre director Erwin Piscator. Important acting teachers during this period were Stella Adler and Elia Kazan. Among the famous students of the Dramatic Workshop were Beatrice Arthur, Harry Belafonte, Marlon Brando, Tony Curtis, Ben Gazzara, Michael V. Gazzo, Rod Steiger, Elaine Stritch, Shelley Winters and Tennessee Williams.Maria Ley-Piscator.
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Lastly, Maria Ley-Piscator (1899–1999), who began her career as a dancer in Berlin and Paris and later turned to choreography. She helped stage several productions with Max Reinhardt, including A Midsummer Night's Dream. She immigrated with her third husband, the theatrical director Erwin Piscator, to US, where they founded the Dramatic Workshop at New York's New School for Social Research in New York City. She subsequently directed stage productions off-Broadway and in Europe.
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From the beginning of World War I the theatre turned into an operetta stage until in 1927, Erwin Piscator and Tilla Durieux opened their Theater am Nollendorfplatz in the building.There was cinema just across the road at number 4, called the Ufa-Theater am Nollendorfplatz from 1924 to 1927, with which it is sometimes confused. Piscator created critical performances by playwrights like Ernst Toller and Walter Mehring, with artists like Bertolt Brecht, George Grosz and John Heartfield at times working with him.
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Erwin Piscator staged Jahnn's The Dusty Rainbow (Der staubige Regenbogen) in 1961. Jahnn was also a music publisher, focusing on 17th-century organ music. He was a contemporary of organ-builder Rudolf von Beckerath.
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Cadmium nitrate is used for coloring glass and porcelainKarl-Heinz Schulte- Schrepping, Magnus Piscator "Cadmium and Cadmium Compounds" in Ullmann's Encyclopedia of Industrial Chemistry, 2007 Wiley-VCH, Weinheim. . and as a flash powder in photography.
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Trichoncoides is a genus of sheet weavers that was first described by J. Denis in 1950. it contains only three species, found only in Africa, Asia, and Europe: T. pilosus, T. piscator, and T. striganovae.
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Among other theatre schools and companies, the Dramatic Workshop played a vital role in paving the way for Off-Broadway theatre.John Willett: Erwin Piscator: New York and the Dramatic Workshop 1939–1951. In: Performing Arts Journal, Vol.
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In the early 1920s, Wittfogel wrote a number of communist, but also somewhat expressionistic, plays: "The Cripple", performed with other short plays on October 14, 1920 at Erwin Piscator's Berlin Proletarian Theatre. Piscator himself played the Cripple at the opening. John Heartfield managed a half-hour late delivery of the backdrop Erwin Piscator, Das politische Theater [new edition], Hamburg, 1963, S. 48f., note 1. Reprinted in Literatur im Klassenkampf, Zur proletarisch-revolutionären Literaturtheorie 1919-1923, Eine Dokumentation von Walter Fähnders und Martin Rector, Fischer, Frankfurt am Main, 1974, p. 242f.
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There are two species of Anhanguera: A. blittersdorfi, the type species; and A. piscator. A. blittersdorfi is based on a complete skull from the Romualdo Formation calcareous concretions (Santana Group) of the Ceará and Pernambuco states of Brazil. The species A. piscator, known from a nearly-complete skeleton, was at one point proposed to belong to the genus Coloborhynchus,Veldmeijer, A. J. (2003). Preliminary description of a skull and wing of a Brazilian Cretaceous (Santana Formation; Aptian-Albian) pterosaur (Pterodactyloidea) in the collection of the AMNH. PalArch’s Journal of Vertebrate Palaeontology 0, 1-14.
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Piscator was born at Strasbourg, and educated at the University of Tübingen. He became professor of theology at Strasbourg in 1573. Elector Frederick III experienced some resistance when he attempted to appoint him to the arts faculty at the University of Heidelberg in 1574, and Piscator eventually took a post at the preparatory Latin Paedagogium in Heidelberg. After a confessional change in Heidelberg, he briefly served as deputy rector at the court school in Dillenburg in 1577 before being appointed professor of theology at the Casimirianum in Neustadt in 1578.
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These paintings have not survived although one of them, a Saint Norbert, was recorded on 2 March 1643 in the house of 'Petrus Piscator' i.e. Peter Visscher (or Pieter de Vischere), an Italian banker and patron of Flemish origin.
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"Description of Coloborhynchus spielbergi sp. nov. (Pterodactyloidea) from the Albian (Lower Cretaceous) of Brazil." Scripta Geologica, 125: 35-139. Restoration of A. piscator Below is a cladogram showing the phylogenetic placement of this genus within Pteranodontia from Andres and Myers (2013).
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A more populist version of this was developed by Alexander Tairov, with stage sets by Aleksandra Ekster and the Stenberg brothers. These ideas would influence German directors like Bertolt Brecht and Erwin Piscator, as well as the early Soviet cinema.
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On February 18, 1950, Parfrey married Rosa Ellovich and trained under acting teacher Erwin Piscator at the New School for Social Research.Anon, Who was who in America with World Notables, vol. 9 (Berkeley Heights, NJ: Marquis Who's Who, 1989), p. 276.
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Since 1961, Iden has written journalistic articles, notably for the Frankfurter Rundschau. At the same time, Iden met the director of the theater Erwin Piscator in Frankfurt, became his assistant and traveled with him for two years through Germany. Inspired by Piscator, he organized "Experimenta" with the theater editor Karlheinz Braun from 1966 to 1971 at the Theater am Turm, which was one of the first international festivals of experimental theater in Germany. In 1972 Iden was a member of the Documenta 5 organizing committee, with director Harald Szeemann, and the same year he became a member of the German PEN club.
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Hermann Schüller (1893-1948) was German writer and Communist activist. He was one of the founders of the League for Proletarian Culture in 1919. In October 1920, with Erwin Piscator he founded the Proletarian Theatre, Stage of the Revolutionary Workers of Greater Berlin.
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References to the 'Berliner Theater am Nollendorfplatz' in the 1930s mentioning Erwin Piscator, Berthold Brecht, Gustav von Wangenheim, Hans Meyer-Hanno and others, probably refer to the Neues Schauspielhaus at 5 Nollendorfplatz. The building also included a cinema, the Mozartsaal, converted from a concert hall.
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After the end of World War II, the G. I. Bill led to a massive student increase at the Dramatic Workshop, "momentarily making it one of the largest dramatic schools in the country."Peter M. Rutkoff: Politics on Stage. Piscator and the Dramatic Workshop.
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The play was first performed at West Berlin's "Freie Volksbühne" (Free People's Theater) on February 20, 1963 under the direction of Erwin Piscator.John Willett: The theatre of Erwin Piscator: half a century of politics in the theatre. London: Taylor & Francis, 1978, p. 177 et seq.
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Willett (1978, 43). Kutscher was a friend of the iconoclastic dramatist and cabaret-star Wedekind. His work influenced many playwrights, poets, and directors. His students included Bertolt Brecht (studied in 1917), Erwin Piscator (studied in 1913), Peter Hacks, Hanns Johst, Klabund, and Erich Mühsam.
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Cadmium hydroxide is an inorganic compound with the formula Cd(OH)2. It is a white crystalline ionic compound that is a key component of NiCd batteries.Karl-Heinz Schulte-Schrepping, Magnus Piscator "Cadmium and Cadmium Compounds" in Ullmann's Encyclopedia of Industrial Chemistry, 2007 Wiley-VCH, Weinheim. .
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Original German book cover, 1927 Hoppla, We're Alive! () is a Neue Sachlichkeit (or "New Objectivity") play by the German playwright Ernst Toller. Its second production, directed by the seminal epic theatre director Erwin Piscator in 1927, was a milestone in the history of theatre.Pearlman (2000, 17).
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Britain Can Take It: The British Cinema in the Second World War 2nd ed. London: I.B. Tauris, 2007. pp. 178. Print.Ernst Busch – ein Jahrhundertleben. ernst-busch.net. He would go on to start his own record label and work with Bertolt Brecht and Erwin Piscator at the "Berliner Ensemble".
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As John Willett put it, throughout the pre-Hitler years Piscator's "commitment to the Russian Revolution was a decisive factor in all his work."John Willett: Introduction, in: Erwin Piscator. 1893–1966. An Exhibition by the Archiv der Akademie der Künste Berlin, in cooperation with the Goethe Institute.
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During those years, he created a theater troupe, The New Horizon Players, with whom he learned the art of directing and acting. In 1948, Piscator cast him as the lead in his production of "The Burning Bush," the story of a young boy from an Orthodox Jewish family accused of committing blood libel by the antisemitic members of the Hungarian aristocracy. In the following years, some of his early jobs as theater director included productions such as Arthur Laurents' Home of the Brave (1950) and Oscar Wilde's Birthday of the Infanta (1949), in which he also had the lead role. Encouraged by Piscator and Lee Strasberg, Garfein joined the American Theatre Wing to study directing with Strasberg.
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Abraham Scultetus was a Calvinist. He held to the doctrines of predestination and agreed with the Synod of Dort and their doctrinal deliverances. Scultetus was a Supralapsarian, and taught that view from his position as professor at Heidelberg. Scultetus denied the imputation of the active obedience of Christ following the teaching of Piscator.
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Erwin Piscator was the first president of the academy, which was conceived as workshop and for education, but the teaching aspect was not realised. It was first based in Hamburg. In 1962 it moved to Frankfurt am Main. Weeks of experimental theatre calle Experimenta were organised in 1966, 1967, 1969, 1971 and 1975.
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Instead, he quit after two weeks and enrolled in the Kammerspiele School of the Theatre, Hamburg, run by theatrical producer and director Erwin Piscator, regarded as the foremost exponent of "Epic Theater," a form that emphasized the socio- political content of drama. Burroughs appeared in a Piscator production of The Good Soldier Schweik, as well as various Shakespeare plays including The Merchant of Venice. In 1930 he attended the International Theatre Conference in Hamburg, where he met Tairoff, the director of the Kamerny Theatre, Moscow, and since his mother and brothers were already in the USSR, he accepted Tairoff's invitation to visit the USSR, where he stayed for six months. Returning to Germany, he launched a career in theatre and film.
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He appended to the volume an elaborate epistle addressed to another Ramist, Johannes Piscator of Strasburg, professor at Herborn Academy. Temple's contributions to the controversy attracted notice abroad, and this volume was reissued at Frankfort in 1584. Meanwhile, in 1582 Temple had concentrated his efforts on Piscator's writings, and he published in 1582 a second letter to Piscator with the latter's full reply.This volume was entitled Gulielmi Tempelli Philosophi Cantabrigiensis Epistola de Dialecticis P. Rami ad Joannem Piscatorem Argentinensem una cum Joannis Piscatoris ad illam epistolam responsione, London (by Henry Middleton for John Harrison and George Bishop), 1582 In 1581, Temple had supplicated for incorporation as M.A. at Oxford, and soon afterwards he left Cambridge to take up the office of master of the Lincoln grammar school.
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The production prompted Genet to re-write the play. Leon Epp directed a production in 1961 at the Volkstheater in Vienna, which subsequently transferred to Paris.Savona (1983, 72). Erwin Piscator directed a production at the Städtische Bühnen Frankfurt, which opened on 31 March 1962 with scenic design by Johannes Waltz and music by Aleida Montijn.
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Walaeus had corresponded with Joseph Mede, and his attitude to Cerinthus, Johannes Piscator and Johann Heinrich Alsted in this area was negative, instead placing the Second Coming away from terrestrial events. Johannes Cocceius followed Walaeus in his interest in prophecy.Jeffrey K. Jue, Heaven upon Earth: Joseph Mede (1586–1638) and the legacy of millenarianism (2006), p. 228; Google Books.
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The workshop often worked with models from the Netherlands in composing reliefs as can be seen in the pulpit in Holmen Church, clearly inspired by illustrations from the Piscator Bible published by the Visscher family in Antwerp. Earlier, less well proportioned works were inspired by ornaments from the Neuws Compertament Buchlein published by Godfridt Müller in 1621.
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Her father was of Irish descent, while her mother had Welsh ancestry. Cardinal Samuel Stritch, Archbishop of Chicago from 1940 to 1958, was one of her cousins. She trained at the Dramatic Workshop of The New School in New York City under Erwin Piscator,"Elaine Stritch Biography" tcm.com, accessed August 31, 2009 alongside Marlon Brando and Bea Arthur.
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A History of the Jews, > pg. 479. New York: Harper Perennial. – Erwin Piscator was a Lutheran > Protestant (Nazi propagandists had claimed since 1927 that he was a “Jewish > Bolshevik”, though). Jews also made similar, if not as massive, contributions to theatre and drama in Austria, Britain, France, and Russia (in the national languages of those countries).
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Heinrich Greif was born 11 March 1907 in Dresden. Since 1926, he studied in the studio at the theater Volksbühne under the direction of Erwin Piscator. In 1933 he joined the Communist Party of Germany. After the Nazis rise to power led to party and trade union work being made illegal he published a theater magazine Rampa.
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International Dictionary of University Histories. "New School for Social Research". Taylor & Francis, 1998. p. 297 Between 1933 and 1945, the New School helped hundreds of European scholars and artists, including Mario Einaudi, Claude Lévi-Strauss, Wilhelm Reich, and Gaetano Salvemini, in the social sciences and history, and Herbert Berghof, Fritz Eichenberg, Erwin Piscator, and George Szell in the arts.
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Among Piscator's students at this Dramatic Workshop in New York were Bea Arthur, Harry Belafonte, Marlon Brando, Tony Curtis, Ben Gazzara, Judith Malina, Walter Matthau, Rod Steiger, Elaine Stritch, Eli Wallach, Jack Creley and Tennessee Williams.Willett (1978, 166). Piscator returned to West Germany in 1951 due to McCarthy era political pressure.Alexander Stephan: Im Visier des FBI.
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Calvin that the word is used collectively, and that various cities are intended. Piscator that Rome, the seat of antichrist, was intended. Jerome says that the Jews generally understand it of Rome. Aben Ezra and Kimchi, however, understand it to refer to many cities which they say will be destroyed in the times of Gog and Magog.
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In 1584 he published an annotated edition of Ramus's Dialectics. It was published at Cambridge by Thomas Thomas, the university printer, and is said to have been the first book that issued from the university press.The work bore the title, P. Rami Dialecticae libri duo scholiis G. Tempelli Cantabrigiensis illustrati. A further reply to Piscator was appended.
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Inge Franke was born into a working-class family in Berlin. Her mother was a garment worker. On leaving school she attended a drama academy, before taking a succession of minor acting roles at various theatres including that at the Schiffbauerdamm, also taking small parts in productions staged by Erwin Piscator. She joined the Communist Party (KPD) in 1930.
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This propelled him to travel to Berlin, where he joined the Berliner Staatstheater (Berlin State Theater), with Leopold Jessner as director. It was here that he gained fame as a stage actor. During his time in Berlin he also worked under Erwin Piscator and Bertolt Brecht. By 1925 he was divorced, and living with actress Agnes Straub.
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Stein was born in Swinemünde (now Świnoujście, Poland) and educated at the Wiesbaden actors school. She began her stage career in Koblenz, Krefeld-Mönchengladbach and Essen with Erwin Piscator. In 1960 Stein moved to Berlin, where she worked for the next 19 years. Stein appeared also at the Schauspielhaus Zürich, the Staatstheater Stuttgart and the Salzburg Festival.
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The additions made as the work grew did not affect the technical part alone; quotations, new turns of phrase, songs, poems and anecdotes were introduced as if the author, who wrote it as a recreation, had kept it constantly in his mind and talked it over point by point with his many friends. There were originally only two interlocutors in the opening scene, "Piscator" and "Viator"; but in the second edition, as if in answer to an objection that "Piscator" had it too much in his own way in praise of angling, he introduced the falconer, "Auceps," changed "Viator" into "Venator" and made the new companions each dilate on the joys of his favourite sport. The best- known old edition of the Angler is J. Major's (2nd ed., 1824).
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The man known as Kobra would later kill Ravan while engaged in single combat. Amanda Waller briefs the Suicide Squad, artist Luke McDonnell Agni assembled a small three-person team to free Quraci President Marlo from United States custody. He brought along Badb, and the Atlantean renegade known as Piscator, a self-styled Janissary. The Suicide Squad preemptively substituted Nemesis for President Marlo.
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Alsted was born in Mittenaar. He was educated at Herborn Academy in the state of Hesse, studying under Johannes Piscator. From 1606 he was at the University of Marburg, taught by Rudolf Goclenius, Gregorius Schönfeld and Raphaël Egli. The following year he went to Basel, where his teachers were Leonhardt Zubler for mathematics, Amandus Polanus von Polansdorf for theology, and Johann Buxtorf.
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Barton p.21-22 Lania's play Konjunktur (Oil Boom) premiered in Berlin in 1928, directed by Erwin Piscator, with incidental music by Kurt Weill. Three oil companies fight over the rights to oil production in a primitive Balkan country, and in the process exploit the people and destroy the environment. Weill's songs from this play, like "Die Muschel von Margate" are still performed.
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Forrest was born in Upper Montclair, New Jersey. Although his family moved frequently, he spent most of his childhood living in New Jersey, graduating from Ridgewood High School in 1950. He studied in the New York Dramatic Workshop in 1950 under the German director Erwin Piscator. He enlisted in the U.S. Army in 1951 and served in various locations in the United States.
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He then worked as a lawyer at the Berlin Court of Appeal. When he removed in 1933 because of his Jewish origin, he emigrated to Paris. There he made the acquaintance of André Gide, Heinrich Mann, Arnold Zweig and Erwin Piscator, who supported him financially. At the time of his Paris exile, Mainzer became acquainted with the writings of psychoanalyst Wilhelm Reich.
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He used mechanized sets, lectures, movies, and mechanical devices that appealed to his audiences. In 1926, his updated production of Friedrich Schiller's The Robbers at the distinguished Preußisches Staatstheater in Berlin provoked widespread controversy. Piscator cut the text heavily and reinterpreted it as a vehicle for his political beliefs. He presented the protagonist Karl Moor as a substantially self-absorbed insurgent.
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Gordon, p. 33 Richard D'Oyly Carte saw him perform and offered him the chance to join the main London company at the Savoy Theatre, as a chorus member and understudy.Gordon, p. 36 Gordon remained a member of the company until 1890, playing Piscator in The Carp, a one-act curtain raiser, when it accompanied Ruddigore (1887), and Harrington Jarramie in Mrs.
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Boal's work in this area has contributed to the emergence of the Theatre for Development movement across the world. In the sixties playwrights like Peter Weiss adopted a more 'documentary' approach towards political theatre, following on from the example of Erwin Piscator in the twenties. Weiss wrote plays closely based on historical documents like the proceedings of the Auschwitz trial in Frankfurt.
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After marrying in Paris, the couple moved to Manhattan in 1939, where they founded the Dramatic Workshop at the New School for Social Research. Their students included Harry Belafonte, Marlon Brando and Tony Randall. Ley-Piscator directed several theatrical productions off Broadway. During the 1970s she worked as a teacher at the Southern Illinois University Carbondale and at Stony Brook University.
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Besides the early verse play version Proud Flesh, Robert Penn Warren has written several stage adaptations of All the King's Men, one of them in close collaboration with famous German theatre director Erwin Piscator in 1947. The story was adapted for radio by NBC University Theatre and broadcast in January 1949. Wayne Morris played Jack Burden, with Paul Frees as Willie Stark.Bob Stepno.
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After World War I, Jacobsohn promoted the work of Leopold Jessner, the artistic director of the State Theatre in Berlin. He also followed closely the productions by Ludwig Berger, Jürgen Fehling, Heinz Hilpert, Berthold Viertel and Erwin Piscator. Apart from the classic authors, particularly William Shakespeare, Jacobsohn initially promoted authors such as Hugo von Hofmannsthal and Arthur Schnitzler. However, he soon became disillusioned with neo-romantic authors.
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The work of The American Mime Theatre has been commended by Presidents Ronald Reagan, Jimmy Carter, and Bill Clinton with proclamations. Born in Boston, Mr. Curtis served in the Navy in World War II. He studied with the notable German director Erwin Piscator from 1947–49. Later, he went to Paris and studied with Etienne Decroux. In the 1970s, Curtis founded American Mime, Inc.
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In 2000 Kellner reassessed the genus and concluded that precisely because of such a lack of autapomorphies (unique characters), it could not be synonymized with Santanadactylus and gave its position after a cladistic analysis as close to Anhangueridae, more derived than Istiodactylus. Kellner also indicated that Araripesaurus resembled Anhanguera piscator in morphology, albeit considerably smaller. Unwin, D. New pterosaurs from Brazil (1988). Nature 332, 398–399.
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John Heartfield (born Helmut Herzfeld; 19 June 1891 – 26 April 1968) was a German visual artist who pioneered the use of art as a political weapon. Some of his most famous photomontages were anti-Nazi and anti-fascist statements. Heartfield also created book jackets for book authors, such as Upton Sinclair, as well as stage sets for contemporary playwrights, such as Bertolt Brecht and Erwin Piscator.
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This name was sometimes translated into English as Salmon or Fisher. The Celtic name Mac an Iascair in Ireland or MacInesker in Scotland also translates to Fisher. The German version of the surname is Fischer, the Dutch version is Visser and the Italian version is Pescatore - which is derived from the Latin surname Piscator. The Fisher motto is "Respice finem" which means "Regard the End".
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On September 2, 1945, Curtis witnessed the Japanese surrender in Tokyo Bay from his ship's signal bridge about a mile away. Following his discharge from the Navy, Curtis attended City College of New York on the G.I. Bill. He then studied acting at The New School in Greenwich Village under the influential German stage director Erwin Piscator. His contemporaries included Elaine Stritch, Harry Belafonte, Walter Matthau, Beatrice Arthur, and Rod Steiger.
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In 1613 Thysius edited Scripta Anglicana, a collection of documents from the Cambridge disputes of the 1590s, around Peter Baro.Nicholas Tyacke, Aspects of English Protestantism, c. 1530-1700 (2001), pp. 224-5. This publication was directed against Remonstrant claims that they had backing from the Church of England's doctrinal formularies; it included works by Baro, Matthew Hutton, Laurence Chaderton, Robert Some, Andrew Willet, George Estye, William Whitaker, and Johann Piscator.
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Benedetti (1999, 126–127). Years later, in his autobiography My Life in Art, he wrote: Actor Jacob Adler had a New York hit in 1904 with his own Yiddish translation—the first successful production of a Tolstoy play in the United States.Adler (1999. 354). The final scene In 1923, the German epic theatre director Erwin Piscator staged the play at his "proletarian Volksbühne" (a rival to the Volksbühne), in Berlin.
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2, No.3 (1978), p. 15. Encouraged through a successful Piscator Symposium at the New School for Social Research in 1987, since that year, "the New School has regularly offered 'Dramatic Workshop Two,' often taught by Judith Malina, Piscator's student and co-founder of the Living Theatre".Barbara Elling: Theater as the Conscience of Society: Erwin Piscator’s “Interim Achievement”. In: Playing for Stakes: German-Language Drama in Social Context.
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Heartfield's The Hand has 5 Fingers. In 1919, Heartfield was dismissed from the Reichswehr film service because of his support for the strike that followed the assassination of Karl Liebknecht and Rosa Luxemburg. With George Grosz, he founded Die Pleite, a satirical magazine. Heartfield met Bertolt Brecht in 1924, and became a member of a circle of German artists that included Brecht, Erwin Piscator, Hannah Höch, and a host of others.
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De Statenbijbel en zijn voorgangers., C.C. de Bruin, A.W. Sijthoff, Leiden, (1937) – text online in the DBNL Though probably not a relative, his Bible translation was accepted by the Dutch Staten-General in 1602, which only lent more publicity and authenticity to the "Fisher" name. The trademark of the Visschers was a fisherman, after their name (thus the Latin nickname Piscator). A small fisherman would be strategically placed somewhere near water.
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For Piscator, Klabund and Mühsam, see Willett (1978, 43); for Brecht, see Thomson (1994, 24). Brecht's first full-length play, Baal (written 1918), was written in response to an argument in one of Kutscher's drama seminars. While Kutscher was responsible for inspiring an admiration for Wedekind in the young Brecht, he was "bitterly critical" of Brecht's own early dramatic writings.Thomson (1994, 24) and Willet and Manheim (1970, vii).
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He then devoted himself to the management of his estates and rural sports and occasionally published essays on rural economy, controversial articles on political science and economics, sporting sketches signed "Venator" and "Piscator" and poems, and he delivered many addresses before agricultural societies. His letters against secession, signed "Agricola" and published in 1851, were among his latest expressions of opinion upon political subjects. He died in Charleston in 1863.
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But Green had begun to shift from the realistic style of his early work. In 1928–29 he traveled to Europe on a Guggenheim Fellowship and was impressed by the non-realistic productions that he saw there. He began to experiment with expressionism and the Epic theatre of Bertolt Brecht and Erwin Piscator. In the 1930s Green largely abandoned the New York theatre, whose commercialism he found distasteful.
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Meisel was born in Vienna to Abraham and Jeni née Herzbrunn. His family was Jewish.Index of the Jewish Records of Vienna and Lower Austria, birth record 2025 for 1894 He began composing incidental music for the stage in the 1920s. Early credits included the scoring of plays by Bertolt Brecht.Bruce Eder, Edmund Meisel biography Retrieved June 21, 2010 His acquaintance with Erwin Piscator led to him writing music for films soon after.
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Grillo-Theater is a theatre in Essen, Germany. Named after the industrialist Friedrich Grillo, who made the building possible, it opened on 16 September 1892 with Lessing's drama Minna von Barnhelm. The building was badly damaged in World War II; it was restored with a much simpler façade and re-opened in 1950 with Wagner's opera Die Meistersinger von Nürnberg. Notable directors included Erwin Piscator, Jean-Louis Barrault, Heinz Dietrich Kenter, Hansgünther Heyme.
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Between 1935 and 1938 he undertook a considerable amount of overseas travel on behalf of the IRTB. In 1936 he traveled with Erwin Piscator to Paris. Paris, like Moscow, was becoming an informal headquarters location for the German Communist Party in exile. Their objective in Paris - at least as far as Pieck and party comrades in Moscow were concerned - was to set up and develop a western European branch office of the IRTB.
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Bennes Mardenn was personally trained by the Group Theatre: Stella Adler, Bobby Lewis, Harold Clurman, Lee Strasberg, and his mentor, Morris Carnovsky. He moved from Philadelphia to New York in 1935. Mardenn studied at the Dramatic Workshop with Erwin Piscator and Michael Chekhov. At The New School, he studied Child Psychology under Abraham Maslow, focusing on the Psychology of Being, and under Lawrence J. Stone of Vassar College to become a Creative Dramatics Specialist.
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Dramatic Workshop was the name of a drama and acting school associated with the New School for Social Research in New York City. It was launched in 1940 by German expatriate stage director Erwin Piscator. Among the faculty were Lee Strasberg and Stella Adler, among the students Robert De Niro, Marlon Brando, Tony Curtis, Walter Matthau, Tennessee Williams and Elaine Stritch. The Dramatic Workshop considerably contributed to the resurgence of the Off- Broadway theatre.
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In: Peter M. Rutkoff, William B. Scott: New School: a History of the New School for Social Research. New York: Macmillan 1986, p. 190. Since the Studio Theatre had to be closed in 1944, Piscator successively started to transfer the student productions to the “President Theatre” at 247 West 48th Street and the “Rooftop Theatre” at 111 East Houston Street in 1946. In June 1949 the Workshop was separated from The New School.
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Though he was a prolific producer of stage sets and book jackets, Heartfield's main form of expression was photomontage. Heartfield produced the first political photomontages."Heartfield in Context" by Maud Lavin, February 1985 He mainly worked for two publications: the daily Die Rote Fahne and the weekly Arbeiter-Illustrierte-Zeitung (AIZ), the latter of which published the works for which Heartfield is best remembered. He also built theatre sets for Erwin Piscator and Bertolt Brecht.
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Years later, he said that the discovery of his love for acting saved him from a life of crime during his teen years."Broadway: the Golden Age ...", 2006 He went to City College of New York to study electrical engineering. After two years, he relented. He took classes in acting at the Dramatic Workshop of The New School in New York with the influential German director Erwin Piscator and afterward joined the Actors Studio.
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His significance for theology was his opposition to the doctrine of the active obedience of Christ. "Whoever denies that Christ was subject to the law, denies that he was man." If the imputation of the active obedience were sufficient man would be free from obedience as well as from the curse. From being an advocate of supralapsarianism in the most extreme form, as in his controversy with Conrad Vorstius, Piscator became a pronounced Arminian.
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A second part to the book was added by Walton's friend Charles Cotton. More than 300 editions of The Compleat Angler have been published. The pastoral discourse was enriched with country fishing folklore, songs and poems, recipes and anecdotes, moral meditations, and quotes from classic literature. The central character, Piscator, champions the art of angling, but with an air of tranquility also relishes the pleasures of friendship, verse and song, and good food and drink.
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Other species of Anhanguera include A. piscator, which is known from a nearly- complete skeleton, and was once proposed to belong to the genus Coloborhynchus, but it has recently been placed back into Anhanguera by Andres and Myers (2013).Veldmeijer, A. J. (2003). Preliminary description of a skull and wing of a Brazilian Cretaceous (Santana Formation; Aptian-Albian) pterosaur (Pterodactyloidea) in the collection of the AMNH. PalArch's Journal of Vertebrate Palaeontology 0, 1-14.
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He also consistently uses experimental language and wordplay. His interest in avant-garde theatre led him to embrace the theories of Jacob Levy Moreno, Antonin Artaud and Erwin Piscator. In addition, through his stage work as director and playwright he fell under the charm of commedia dell'arte, as well as the absurdism of Kurt Schwitters and Alfred Jarry. In 1963 Pörtner wrote the interactive play Scherenschnitt oder Der Mörder sind Sie in which the audience takes a leading role.
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It includes the true story of Kurt Gerstein. Gerstein, a devout Protestant and later a member of the SS, wrote an eyewitness report about the gas chambers and, after the war, died as a POW. The play was first performed in Berlin on 20 February 1963 under the direction of Erwin Piscator. It received its first English production in London by the Royal Shakespeare Company at the Aldwych Theatre in 1963 in a translation by Robert David MacDonald.
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Sigfried Piscator was born in Mainz, Germany in 1411 and ordained a priest in the Order of Preachers. On 7 Mar 1446, he was appointed during the papacy of Pope Eugene IV as Auxiliary Bishop of Mainz and Titular Bishop of Cyrene. He resigned in Sep 1455. On 27 Mar 1462, he was again appointed as Auxiliary Bishop of Mainz during the papacy of Pope Pius II where he served until his death on 16 Oct 1473.
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Buxtorf was born at Kamen in Westphalia. The original form of the name was Bockstrop, or Boxtrop, from which was derived the family crest, which bore the figure of a goat (Ger. Bock, he-goat). After the death of his father, who was minister of Kamen, Buxtorf studied at Marburg and the newly founded Herborn Academy, at the latter of which Caspar Olevian (1536–1587) and Johannes Piscator (1546–1625) had been appointed professors of theology.
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Dolly, Lotte and Maria (German: Dolly, Lotte und Maria) is a 1987 German documentary film directed by Rosa von Praunheim. The film recounts the lives of Lotte Goslar, Dolly Haas and Maria Ley-Piscator, three German women performers who achieved success in Berlin in the 1930s. All left Nazi Germany for reasons of conscience, and eventually settled in the United States. After the war, all three remained in America and continued actively pursuing their careers, with mixed success.
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In April 1941, her family left Brazil to settle in New York, where Rosenthal would later graduate from the High School of Music and Art. She studied acting at the Jean-Louis Barrault School of Theatre and with Herbert Berghoff. At some stage she was an apprentice of director Erwin Piscator and directed some off- Broadway productions. Additionally, she was an assistant designer to Heinz Condella at the New York City Opera and danced in Merce Cunningham's company.
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After the war he first began to paint after being exposed to the work of August Macke. He gradually became a staunch communist, joining the Communist Party of Germany in 1920. Throughout the 1920s he was very active in the Berlin art scene, becoming acquainted with Käthe Kollwitz, El Lissitzky, and many other notables. He became secretary of the Workers International Relief, and in 1922 he co-founded the "artist's relief" division thereof with Erwin Piscator.
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George is noted for having spooked the young Bertolt Brecht in his first directing job, a production of Arnolt Bronnen's Parricide (1922), when he refused to continue working with the director. He played in Fritz Lang's Metropolis (1927) and Dreyfus (1930), as well as starring in Berlin Alexanderplatz (1931). George was an active member of the Communist party during the Weimar Republic. He worked with theatre director Erwin Piscator and playwright Bertolt Brecht, both of whom identified with the political left.
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Remains of Duerosuchus were unearthed by an excavation team from the University of Salamanca. The remains were discovered by Luis Alonso Andrés and his son Luis Alonso Santiago, two amateur paleontologists. The genus was first described by Andrés and Santiago in 2009 and was named after the Duero River, as it was found in the Duero River Basin. The type species is D. piscator, named in reference to its presumed ability to catch fish, inferred from the shape of its teeth.
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In 1946, an American Embassy official visiting the orphanage offered Garfein the chance to immigrate to the U.S, where he joined his uncle living in New York. He was then taken care of by the Jewish Child Care Association, which helped him secure a scholarship in 1947 to study at the Dramatic Workshop at The New School for Social Research. Garfein took classes in acting with the influential German director Erwin Piscator. Among his classmates were Walter Matthau, Tony Curtis and Rod Steiger.
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The taste of pike and pickerel is highly esteemed, but the "multitude of long, fine, forked bones" are problematic.Waverley Root, Food, 1996, p. 353 'Piscator', "Pike Fishing", The Sportsman (Second Series), 2:3:139 (March 1840) The dish of quenelles de brochet (pike dumplings), which puts the meat through a sieve, was invented to deal with this.Marthe Daudet, Shirley King, translator and adaptor, Pampille's Table: Recipes and Writings from the French Countryside from Marthe Daudet's Les Bons Plats de France [1934], p.
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The western plantain-eater (Crinifer piscator), also known as the grey plantain-eater or western grey plantain-eater, is a large member of the turaco family, a group of large arboreal near-passerine birds restricted to Africa. This species is a resident breeder in open woodland habitats in tropical west Africa. It lays two or three eggs in a tree platform nest. These are common, noisy and conspicuous birds, despite lacking the brilliant colours of relatives such as the violet turaco.
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Brecht wrote another Schweik drama in 1943, Schweik in the Second World War. Leo Lania's play Konjunktur (Oil Boom) premiered in Berlin in 1928, directed by Erwin Piscator, with incidental music by Kurt Weill. Three oil companies fight over the rights to oil production in a primitive Balkan country, and in the process exploit the people and destroy the environment. Weill's songs from this play, like Die Muschel von Margate are still part of the modern repertoire of art music.
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Dudow was born in Zaribrod, Bulgaria (today Dimitrovgrad, Serbia). In 1922, he emigrated to Berlin with the intention of becoming an architect. He gave up this plan and began studying theatre in 1923, first under Emmanuel Reicher, and then, from 1925 to 1926, as a theatre studies student under Max Herrmann at the university. He worked with Leopold Jessner and Jürgen Fehling, served as a chorus member under Erwin Piscator, and was a director's assistant to Fritz Lang on the production of Metropolis.
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The Compleat Angler was published by the bookseller Richard Marriot whose business was based in Fleet Street near where Walton had a shop. Walton was a friend of Marriot's father John, who had started the business, but was in retirement by the time the book appeared. The first edition featured dialogue between veteran angler Piscator and student Viator, while later editions change Viator to hunter Venator and added falconer Auceps. There were a number of editions during the author's lifetime.
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Born to Jewish parents in Berlin, where his father Eugen Rehfisch was a physician, Hans began his career as a successful lawyer before turning his hand to literature and the theatre. He became the most famous German playwright of the 1920s. Marlene Dietrich made her name as a young actress in Berlin playing the role of Lou in Rehfisch's social satire Duel at the Lido in 1926. Together with Erwin Piscator he led the Zentraltheater in 1920, in the Alten Jakobstrasse, Berlin-Mitte.
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Kestenberg, like other child psychiatrists, confronted the challenge of analyzing and helping very young children who had limited verbal skills. With her background in neurology, she believed that how a child moved could be a window into the child’s ways of feeling and thinking. Kestenberg began research in the early 1950s with the systematic observation of infants and their movement patterns. Through contact with Maria Ley-Piscator she learned the technique of Laban movement studies as it applied to questions in developmental psychology.
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It was here that he would meet the painter Charles Counhaye who was to show him the way to expressive and monumental art (1942–1945). Somville as a young man he became involved in and was Intensely influenced by the great social movements and conflicts of his day: the rise of fascism, The Spanish Civil War, the workers' movement. He read Marx and Lenin. He admired Bertolt Brecht, Serge Eisenstein, Erwin, Piscator, Louis Armstrong, Charlie Chaplin and Eric von Stroheim.
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This led him to start a two-year course at the New School for Social Research, run by German émigré Erwin Piscator. During one audition, Steiger was cast after barely uttering a few words, the director exclaiming he had a "fresh, wonderful quality." Another talented pupil at the time was Walter Matthau, who dubbed the institution "The Neurotic School for Sexual Research." Steiger was surprised to discover his own talent as an actor, and he was encouraged to pursue further studies at the Dramatic Workshop.
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Obituary, The Times, May 9, 2008. An honors graduate from Sweet Briar College in Sweet Briar, Virginia, she studied acting at the Jarvis Theatre School in WashingtonPhilip Hoare Obituary, The Independent, May 10, 2008. with future star actors Rod Steiger, Tony Curtis and others, and in the Dramatic Workshop was taught by Erwin Piscator. Dundy's controlling father insisted she live at home while in New York, but she calculated that her monthly allowance would allow her to live in Paris for a short time.
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Eggerth was awarded many major artistic decorations from Austria, Germany, Poland, and Italy in recognition of her accomplishments in operetta, theatre and film. Her final recognitions included the Knights Cross of the Order of the Merit of the Republic of Poland, Knights Cross of the Order of the Merit of the Republic of Hungary, her native land's highest honour, and the Erwin Piscator Life Achievement Award for her legendary achievements. In 2003, Patria Music released a retrospective double CD of her songs entitled My Life My Song.
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In the autumn of 1913, he attended a private Munich drama school and enrolled at University of Munich to study German, philosophy and art history. Piscator also took Arthur Kutscher's famous seminar in theatre history which Bertolt Brecht was also later to attend.Willett (1978, 43) He began his acting career in the autumn of 1914, in small unpaid roles at the Munich Court Theatre, under the directorship of Ernst von Possart. In 1896, Karl Lautenschläger had installed one of the world's first revolving stages in that theatre.
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She took the name Tirza and remained in Israel after fighting in the 1948 War of Independence. Unable to leave Europe, their parents, Max and Ida, died in concentration camps during the Holocaust. Zimmer attended Queens Vocational High School, the Central High School of Needle Trades, and the Harlem Evening High School. Supporting herself as a dental assistant, she then took classes at the Fashion Institute of Technology (FIT) and studied costuming with the New School of Social Research Dramatic Workshop, led by Erwin Piscator.
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However, Moissi did not keep up with the German Expressionist and epic theatre movement initiated by directors like Erwin Piscator and Bertolt Brecht. He finally left Germany after the Nazi Machtergreifung in 1933 and was offered Albanian citizenship by King Zog. Alexander Moissi died of pneumonia on 22 or 23 March 1935, most likely in Vienna (other sources claim 23 March 1935 in Lugano). He was cremated at Feuerhalle Simmering and his ashes are buried at the Morcote cemetery overlooking Lake Lugano in Switzerland.
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He got his certificate from Johannes Piscator on 19 July 1601 who wanted him to be a teacher of the institution, but it was not possible. In 1601 he worked as a proofreader for Johannes Saur’s publishing house, and in 1602 as a tutor in Amberg. On 23 January he enrolled to the University of Altdorf and started writing his Latin-Hungarian dictionary. He gave the first part of the dictionary to Rudolf II, Holy Roman Emperor, and when the book was published he traveled to Prague to show it to the monarch personally.
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Herborn had its first documentary mention in 1048, and was granted the privilege of a city in 1251 by the Counts of Nassau. In 1584 the Herborn Academy, a Reformed (Calvinistic) institution, was founded by John VI of Nassau-Dillenburg, younger brother of William the Silent and namesake of today's Gymnasium Johanneum. Herborn was where Johannes Piscator published the Reformed Church translation of the Bible into German, in 1602. This work has had a decisive effect in shaping church life among followers of the Reformed movement in Germany, the Netherlands, Switzerland and the United States.
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Kuranda was a principal at Elliott Associates; having opened doors to film production in his first three. Kuranda is a lifetime member of The Actors Studio, and the former Director of Professional Development for The Actors Studio Drama School at the New School for Social Research (The New School) having replaced the retiring Associate Dean, Stephen Benedict. Kuranda was recruited from the Signature Theater to come back to the West Village institution by James Lipton. The program was the third generation of Dramatic Workshop run by Erwin Piscator.
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The British historian Paul Johnson, commenting on Jewish contributions to European culture at the Fin de siècle, writes that > The area where Jewish influence was strongest was the theatre, especially in > Berlin. Playwrights like Carl Sternheim, Arthur Schnitzler, Ernst Toller, > Erwin Piscator, Walter Hasenclever, Ferenc Molnár and Carl Zuckmayer, and > influential producers like Max Reinhardt, appeared at times to dominate the > stage, which tended to be modishly left-wing, pro-republican, experimental > and sexually daring. But it was certainly not revolutionary, and it was > cosmopolitan rather than Jewish.Johnson, Paul (1987).
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Cover of the first edition of the publication Everyman His Own Football (German: Jedermann sein eigner Fussball) Jedermann sein eigner Fussball ("Everyman His Own Football") was a single-issue illustrated magazine published by Malik Verlag (Wieland Herzfelde's publishing house). The satirical tabloid was published on 15 February 1919; police arrested staff and confiscated copies immediately on publication. It included two photomontages by John Heartfield on the front cover and six line drawings by George Grosz. Texts by Herzfelde, Walter Mehring, Mynona; other contributors jointly credited include Richard Huelsenbeck, Erwin Piscator, Karl Nierendorf, and J.H. Kuhlemann.
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Fritz Kortner in Toller's Transformation, 30 September 1919 Under the auspices of the experimental theatre, the Tribüne (founded in September 1919), the league staged Ernst Toller's Transformation (Die Wandlung), which opened on 30 September 1919 with a cast that included Fritz Kortner.Willett (1978a, 14). The production ran into difficulties in mid- October, however, when some of its cast refused to play for metalworkers who were on strike at the time, which led to the termination of the relationship between the League and the Tribüne.Pearlman (2000), Sheppard (2000, 261), Piscator (1980, 36), and Rorrison (1980, 37).
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He majored in Theater Arts at Lincoln, and after graduating was hired as an assistant in the university's drama department. Hill returned to New York a year later and joined the Federal Theater Project as a script reader. While working in this group, he wrote his plays Stealing Lightning and Hell's Half Acre. These plays would later be produced by the Unity Players of the Bronx, which eventually helped him earn the Theresa Helbrun Scholarship at the New School for Social Research, studying under John Gassner and Erwin Piscator.
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334 This gave rise to the role of the director in modern theatre, and Germany would provide a platform for a generation of emerging visionary theatre directors, such as Erwin Piscator and Max Reinhardt. 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 sometimes used to mean a stage director, most commonly in ballet. A more common term for theatre director in French is metteur en scène.
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Tomljenović- Meller then went to Berlin and worked as a poster designer, and as a stage designer with the Dadaist artist John Heartfield on a theater set for Communist director Erwin Piscator. In the same period she participated in the European championship in Czech handball. She then moved to Paris in 1931 to study literature at the Sorbonne. In 1932 she moved to Prague and married Alfred Meller, owner of the ROTA advertising company. After Meller’s death in 1935, Tomljenović-Meller returned to Zagreb and later moved to Belgrade, where she taught poster design.
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Piscator prepared Latin commentaries collectively of the New Testament (Herborn, 1595–1609) and the Old Testament (1612, 1618), and a German translation of the Bible (1605–19). He followed with Anhang des herbonischen biblischen Wercks (1610), noted for its wealth of archeological, historical, and theological material. He left a multitude of text-books in philosophy, philology, and theology, of which Aphorismi doctrinæ christianæ (1596) was much used. In 2010 Piscator's Appendix to his Commentary on Exodus 21 - 23 has been translated and published under the title of Disputations on the Judicial Laws of Moses.
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The theatres of Berlin and Frankfurt am Main were graced with drama by Ernst Toller, Bertolt Brecht, cabaret, and stage direction by Max Reinhardt and Erwin Piscator. Many theatre works were sympathetic towards Marxist themes, or were overt experiments in propaganda, such as the agitprop theatre by Brecht and Weill. Agitprop theatre is named through a combination of the words "agitation" and "propaganda". Its aim was to add elements of public protest (agitation) and persuasive politics (propaganda) to the theatre, in the hope of creating a more activist audience.
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Itelman returned to the United States in 1957 and began working as an associate professor of dance at Bard College and began choreographing and supervising performances for the college's dance students. In 1965, she was the head of the dance department at Bard. Simultaneously with her teaching, Itelman continued her own training with Merce Cunningham and Alwin Nikolais, among others, and studied lighting and makeup at the Dramatic Workshop run by Erwin Piscator. She took lessons in performance with Lee Strasberg and attended painting classes at the Brooklyn Museum.
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Born Gustav Rudolf Sellner in Traunstein, he began his career as an actor, dramaturge and stage director at theatres in Mannheim under from 1925, in Gotha from 1928, and in Coburg from 1929 to 1931. He was influenced by the work of Otto Falckenberg, Leopold Jessner and Erwin Piscator. He was an Oberspielleiter, dramaturge and actor at the Landestheater Oldenburg from 1932 to 1937 when he was promoted to Schauspieldirektor (director of plays) there. He was Intendant of the from 1940 to 1943. Sellner was Intendant of the from 1943.
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Racial issues were tackled in plays such as Angelina Weld Grimké's, Rachel.Robert J. Fehrenbach, "An Early Twentieth-Century Problem Play of Life in Black America: Angelina Grimké's Rachel," in Wild Women in the Whirlwind: Afra-American Culture and the Contemporary Literary Renaissance, ed. Joanne M. Braxton and Andree Nicola McLaughlin ( New Brunswick: Rutgers UP, 1990), pp. 89-106. It was a tool of the socialist theatre in the 1920s and 30s, and overlapped with forms of documentary theatre in works such as Carl Crede's Paragraph 218 (1930), which concerns the issue of abortion, and which was directed by Erwin Piscator.
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On 20 December 1354, Archbishop Gerlach of Mainz bestowed a benefice for the aforementioned Chapel of St. Mary, which was endowed by Philip of Sponheim-Bolanden. In a deed dated 4 January 1449 the vicar general of Mainz, Siegfried Piscator, entrusted pastoral care in this chapel to the nearby Abbey of St. James. Apparently it also served as a church for the village of Dannenfels. In a description of the Kirchheim estate in 1657 it is stated that a Protestant priest lived in Dannenfels, but he had to preach in the parsonage because there was no church in the village.
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Cadmium cyanide is prepared commercially by treating cadmium hydroxide with hydrogen cyanide:Karl-Heinz Schulte-Schrepping, Magnus Piscator "Cadmium and Cadmium Compounds" in Ullmann's Encyclopedia of Industrial Chemistry, 2007 Wiley-VCH, Weinheim. . : Cd(OH)2 \+ 2 HCN → Cd(CN)2 \+ 2 H2O It can also be generated from tetracyanocadmate: :[Cd(CN)4]2− \+ CdCl2 → 2 Cd(CN)2 \+ 2 Cl− Structure of the clathrate consisting of cadmium cyanide host and carbon tetrachloride guest, Cd(CN)2.CCl4. Blue = Cd(CN)2 framework, gray = C, green = disordered Cl. Cadmium cyanide and zinc cyanide adopt similar structures. As such, each metal has tetrahedral coordination sphere.
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After Adolf Hitler's coming to power in January 1933, the situation for left-wing movements in Germany drastically deteriorated. The antagonism between the Social Democratic Party and the Communist Party had long divided the German left. After the Nazis banned both parties and labour unions in the summer of 1933, many people, including Bertolt Brecht, realized that only a united front of social democrats and communists could fight back against fascism. In 1934, at the request of fellow theatre director Erwin Piscator, Brecht wrote the "Einheitsfrontlied", calling for all workers to join the Arbeiter-Einheitsfront, the Workers' United Front.
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He wrote: "I have read the fathers, and the schoolmen and Calvin too, but I find that he that has Calvin has them all." Other inspirations to his theology include the Apostle Paul and Bishop Cyprian, and reformation leaders Zacharias Ursinus, Theodore Beza, Franciscus Junius (the elder), Jerome Zanchius, Peter Martyr Vermigli, Johannes Piscator, and Martin Bucer. Additional English role models include Paul Baynes, Thomas Cartwright, Laurence Chaderton, Arthur Hildersham, William Ames, William Whitaker, John Jewel, and John Whitgift. In the religious theory developed by Cotton, the believer is totally passive in his personal religious experience, while the Holy Spirit provides spiritual regeneration.
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In the spring of 1939, Alvin Johnson, the president of the New School for Social Research in New York City, signed an agreement with German expatriate stage director Erwin Piscator to found a drama and acting school at The New School. The “Dramatic Workshop” started its operations in January 1940 with some 20 students. In September 1940 the Workshop began to launch semi- professional theatre productions within the “Studio Theatre” (i.e. the Tishman Auditorium) at 66 West 12th Street. In 1944 the Dramatic Workshop began to hold annual summer theatres at summer resort towns such as Sayville and Lake Placid.
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Willett (1978, 43). During the First World War Piscator was drafted into the German army, serving in a frontline infantry unit as a Landsturm soldier from the spring of 1915 (and later as a signaller). The experience inspired a hatred of militarism and war that lasted for the rest of his life, as well as a few bitter poems, published in 1915 and 1916 in the left-wing Expressionist literary magazine Die Aktion. In summer 1917, having participated in the battles at Ypres Salient and been in hospital once, he was assigned to a newly established army theatre unit.
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After studying piano, composition and conducting at the Stern Conservatory in Berlin, he became Edmund Meisel's collaborator for the music of several films (Sergei Eisenstein's Battleship Potemkin, October: Ten Days That Shook the World, Arnold Fanck's The Holy Mountain). Head of singing, assistant director and choreographer at the Berlin State Opera, conductor and assistant director at the Piscator Theatre, he continued his orchestration training work in 1929 in Paris where he settled permanently a few years later. After a difficult start, he became conductor of the "Chorale populaire de Paris" close to the Communist Party. He composed songs and occasional works.
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The Berleburg Bible (Berleburger Bibel) is a German translation of the Bible with copious commentary in eight volumes, compiled in Bad Berleburg during 1726–1742. It is an original translation from the Hebrew and Greek, along with the Piscator-Bibel (1602–1604) among the first German translations independent of Luther's Bible. It was the project of pietistic theologian Johann Friedrich Haug (1680–1753), his brother Johann Jacob Haug (1690–1756) and Berleburg pastor Ludwig Christof Schefer (1669–1731). The brothers Haug had moved to Sayn-Wittgenstein-Berleburg in 1720, at the time a center of radical pietism.
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The cafe was located on the corner of Amalienstraße and Theresienstraße in the Maxvorstadt not far from the Simplicissimus cabaret and . At the time it was one of the few establishments in Munich which stayed open till 3:00 in the morning. Regular patrons and visitors included Johannes R. Becher, Hanns Bolz, Hans Carossa, Theodor Däubler, Kurt Eisner, Hanns Heinz Ewers, Leonhard Frank, Otto Gross, Emmy Hennings, Arthur Holitscher, Eduard von Keyserling, Paul Klee, Alfred Kubin, Gustav Landauer, Heinrich Mann, Gustav Meyrink, Erich Mühsam, Erwin Piscator, Alexander Roda Roda, Ernst Toller, B. Traven and Frank Wedekind.
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In the 1964 edition he added new essays such as those by Shaw, Jarry, Synge, Piscator, Oskar Schlemmer, Meyerhold, Giraudoux and Sartre. He obtained a law degree from the University of Lisbon and chaired the Portuguese Society of Authors (Sociedade Portuguesa de Autores) for 30 years from 1973 to 2003, specializing in the area of copyright. He was also vice president of the International Confederation of Societies of Authors and Composers. In 1971, Rebello was appointed director of the Teatro São Luiz in Lisbon, a position that he would resign the following year because of censorship disagreements.
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The Elizabethan debate was at this time revisited, in the context of the overt religious conflicts and battle lines in the Netherlands. In 1613 Antonius Thysius published Scripta Anglicana, a collection of documents from the Cambridge disputes of the 1590s around Peter Baro. This publication was directed against Remonstrant claims that they had backing from the Church of England's doctrinal formularies; it included works by Baro, Matthew Hutton, Laurence Chaderton, Robert Some, Andrew Willet, George Estye, Whittaker, and Johann Piscator. Johannes Arnoldi Corvinus then disputed the interpretation, and pointed out that King James I had refused to put the resulting Lambeth Articles on the same footing as the Thirty-Nine Articles.
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Martin Henry Balsam was born in the Bronx borough of New York City, to Russian-Jewish parents, Lillian (née Weinstein) and Albert Balsam, who was a manufacturer of women's sportswear.The New York Times, February 14, 1996: "Martin Balsam Is Dead at 76; Ubiquitous Character Actor" Retrieved 2012-06-15 He attended DeWitt Clinton High School, where he participated in the drama club. He studied at the Dramatic Workshop of The New School in New York with the German director Erwin Piscator and then served in the United States Army Air Forces from 1941 to 1945 during World War II, reaching the rank of Sergeant.Martin Balsam, Service Record.
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Thomas Goldstein (also Thomas E. and Thomas Eugen Goldstein) is the son of the writer Moritz Goldstein. In his study time, he was an assistant director of Erwin Piscator in a political theater group which belonged to a socialist-revolutionary student group.Klaus Voigt: Zuflucht auf Widerruf, S. 79 He became a research associate at the New York University in 1942 and also worked for the United States Office of War Information, for the Office of German Affairs in the US State Department and as a political commentator for the German Service of the Voice of America. From 1955, Thomas Goldstein continued his scientific career.
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The Balcony () is a play by the French dramatist Jean Genet. It is set in an unnamed city that is experiencing a revolutionary uprising in the streets; most of the action takes place in an upmarket brothel that functions as a microcosm of the regime of the establishment under threat outside.Savona (1983, 79). Since Peter Zadek directed the first English-language production at the Arts Theatre Club in London in 1957, the play has been revived frequently (in various versions) and has attracted many prominent directors, including Peter Brook, Erwin Piscator, Roger Blin, Giorgio Strehler, and JoAnne Akalaitis.Savona (1983, 71–72) and Lavery, Finburgh, and Shevtsova (2006, 12).
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Furman also directed the Three Penny Opera featuring famed actress Geraldine Fitzgerald. Roger Furman was born on March 22, 1924 in New Jersey and studied theatre arts at the Dramatic Workshop of the New School for Social Research under Erwin Piscator. Furman worked as an apprentice under Rafael Ríos Rey at the National Theatre of Puerto Rico and was a former student at the American Negro Theatre (ANT) with Sidney Potier, Clarice Taylor, Harry Belafonte, Ruby Dee and Gertrude Jeannette. Furman was the youngest person at the American Negro Theatre commissioned to design a set for Tin Top Valley, starring Fred O'Neil, produced by ANT.
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In 1925, they began also maintaining the MOPR Children's Home in Elgersburg, as well. The two homes were managed by a 46-person administrative board, which included such well- known members as Albert Einstein and Thomas Mann. The Rote Hilfe Deutschland community drew active support by about 600 notable individuals from democratic and leftist intellectual circles. Their campaigns, such as the amnesty for political prisoners in 1928, for freedom in the arts, or in favor of liberalizing the law on abortion were supported by Albert Einstein, Kurt Tucholsky, Käthe Kollwitz, Heinrich Zille, Heinrich Mann, Erich Mühsam, Magnus Hirschfeld, Otto Dix, Max Liebermann, Erwin Piscator, Carl von Ossietzky, Heinrich Vogeler and others.
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He fell in love with the art form and also met Sidney Poitier. The financially struggling pair regularly purchased a single seat to local plays, trading places in between acts, after informing the other about the progression of the play. At the end of the 1940s, he took classes in acting at the Dramatic Workshop of The New School in New York with the influential German director Erwin Piscator alongside Marlon Brando, Tony Curtis, Walter Matthau, Bea Arthur, and Sidney Poitier, while performing with the American Negro Theatre. He subsequently received a Tony Award for his participation in the Broadway revue John Murray Anderson's Almanac.
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Hansgünther Heyme (born 22 August 1935) is a German theatre director and prominent figure in the Regietheater movement of the 1960s and 70s. Born in Bad Mergentheim, he studied at Heidelberg University and then under the German director Erwin Piscator. Heyme was the artistic director of the Staatstheater Wiesbaden from 1964 to 1967, the Schauspiel Köln (Cologne's principal theatre) from 1968 to 1979, the Württemberg State Theatre in Stuttgart from 1979 to 1986, the Ruhrfestspiele theatre festival from 1990 to 2003, and the Theater im Pfalzbau in Ludwigshafen from 2004 to 2014. Now in his 80s, he continues to work as a freelance director.
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The Hohe Schule in , where Vorstius was a professor before he moved to Leiden Vorstius was born at Cologne on 19 July 1569. His parents were Roman Catholic but he converted to the Reformed Christianity. He studied at Düsseldorf from 1583 to 1587, he also studied at Aix-la-Chapelle and then entered the college of St. Lawrence in Cologne; he next studied for two years to prepare for business but in 1589 again altered his intention and studied at the Herborn Academy from 1589 until 1593, he entered further schooling at Heidelberg on 12 April 1593, focusing on theology on 12 April 1594. There he studied under Johannes Piscator and received a theological doctorate on 4 July 1594.
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Filmmaking and video production content has been used in performance for many years, as has large format slide projection delivered by systems such as the PANI projector. The German Erwin Piscator, as stage director at the Berlin Volksbühne in the 1920s, made extensive use of film projected onto his sets. However, the development of digital projection technology in the mid 90s, and the resulting drop in price, made it more attractive and practical to live performance producers, directors and scenic designers. The role of the video designer has developed as a response to this, and in recognition of the demand in the industry for experienced professionals to handle the video content of a production.
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Wallach took classes in acting at the Dramatic Workshop of the New School in New York with the influential German director Erwin Piscator. He later became a founding member of the Actors Studio, taught by Lee Strasberg. There, he studied more method acting technique with founding member Robert Lewis, and with other students including Marlon Brando, Montgomery Clift, Herbert Berghof, Sidney Lumet, and his soon-to-be wife, Anne Jackson. Wallach became Marilyn Monroe's first new friend when she became a student at the Actors Studio, once insisting on watching him perform in The Teahouse of the August Moon from the backstage wings, simply to see up close how experienced actors perform a two-hour play.
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Particularly useful to the debate and relevant for citation were John Calvin, Pierre Du Moulin, David Paraeus, William Perkins, Johannes Piscator, and William Whitaker. In writing this book, Grotius was self-consciously taking a position in the affair of Conrad Vorstius. That was because it took aim at a work of Sibrandus Lubbertus from 1611, Commentarii ad nonaginta novem errores Conradi Vorstii from 1611, the year in which Vorstius, an Arminian, had been forced out of the University of Leiden. More particularly it was directed against the dedication Lubbertus had made to George Abbot, in which the States of Holland were criticised for their lenient handling of the Remonstrants, and their reluctance to call a synod.
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Choreographer, composer, and designer combine their efforts to produce a coherent work in which all the elements, in harmony with each other, convey the feelings and ideas more powerfully. This concept of a unified work of art, previously theorized by Richard Wagner and, in the 18th century, by Jean-Georges Noverre, was popular among German artists in the early 20th century. Examples are found in the visual arts, for instance in the work of George Grosz and the Herzfelde brothers, or in the theatre of Erwin Piscator and his dramaturgical collective. The Green Table reflects a concern for social issues and the problems of that era (shared by many artists contemporary with Jooss) such as political corruption and militaristic policies.
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Following the war, he turned to the theater and had two plays produced. No Hiding Place, a three-act play, was produced by Erwin Piscator's Dramatic Workshop of the New School at Broadway's President Theatre (1946). The cast, directed by Maria Ley Piscator, included Sarah Cunningham, Anna Berger, and Salem Ludwig. Lions After Slumber, also a three-act play, was produced at London's Unity Theatre (1948). In the early days of television, Bennett authored scripts for Monodrama Theater (DuMont, 1952–1953), Harlem Detective (WOR-TV NYC, 1953), Crime Syndicated (CBS, 1951), Cameo Theatre (NBC, 1950–1955), High Tension (WOR, 1953), I-Spy (Syndicated, 1956), Wide Wide World (NBC, 1956), Good Morning (with Will Rogers, Jr.) (CBS, 1957), and Alfred Hitchcock Presents (1957), among other shows.
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Heinrich George Werner Krauss Heinrich George was active in the Communist party before the Nazi takeover. He had worked with fellow left-wingers, the theatre director Erwin Piscator and dramatist Bertolt Brecht and had starred in the lead role of the film Berlin-Alexanderplatz (1931). After the Nazi takeover, George was identified as a "non-desirable" actor because of his earlier political affiliations and was barred from working in cinematic productions; however, he was able to reach an accommodation with the Nazi regime and was eventually appointed director of the Schiller Theater, Berlin in 1938. From that point onwards, George actively collaborated with the Nazis and agreed to star in Nazi propaganda films such as Jud Süß and Kolberg (1945) as well as appearing in numerous newsreels.
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Mühsam specifically targeted his writings to satirize the growing phenomenon of Nazism, which later raised the ire of Adolf Hitler and Joseph Goebbels. Die Affenschande (1923), a short story, ridiculed the racial doctrines of the Nazi party, while the poem Republikanische Nationalhymne (1924) attacked the German judiciary for its disproportionate punishment of leftists while barely punishing the right wing participants in the Putsch. In 1928, Erwin Piscator produced Mühsam's third play, Staatsräson (For reasons of State), based upon the controversial conviction and execution of Nicola Sacco and Bartolomeo Vanzetti in the United States. In 1930, Mühsam completed his last play Alle Wetter (All Hang), which sought mass revolution as the only way to prevent a radical Right-wing seizure of power.
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With his company "The Red Dancers", in 1929 Weidt moved to Berlin where he took to presenting socio-political dance evenings. The theatre director Erwin Piscator engaged him at the Renaissance-Theater, after which, starting in 1931, he presented pieces at the Wallner Theatre organising a series of productions that included "Tai Yang erwacht" ("Tai Yang awakened") by Friedrich Wolf, for which the stage set was designed by the young John Heartfield. Weidt reacted to the growth of Fascism in Germany by joining the Communist Party in 1931. He developed a close co-operation with "Truppe 31" ("Troup 31"), a politically engaged group of performance artists around the actor-director Gustav von Wangenheim, and included Ludwig Renn, , John Heartfield and Arthur Pieck.
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The western plantain-eater was described by the French polymath Georges-Louis Leclerc, Comte de Buffon in 1770 in his Histoire Naturelle des Oiseaux from a specimen collected in Senegal. The bird was also illustrated in a hand- coloured plate engraved by François-Nicolas Martinet in the Planches Enluminées D'Histoire Naturelle which was produced under the supervision of Edme-Louis Daubenton to accompany Buffon's text. Neither the plate caption nor Buffon's description included a scientific name but in 1783 the Dutch naturalist Pieter Boddaert coined the binomial name Falco piscator in his catalogue of the Planches Enluminées. The western plantain-eater is now placed in the genus Crinifer that was erected by the Polish zoologist Feliks Paweł Jarocki in 1821.
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Concurrent with her work as an actor and director, Stella Adler began to teach in the early 1940s at the Erwin Piscator Workshop at the New School for Social Research in New York. She left the faculty in 1949 to establish her own studio in New York in the same year.Stella Adler Conservatory of Acting Britannica.com. Combining what she had learned from the Yiddish theatre, the Group Theatre, Broadway, Hollywood, and Constantin Stanislavski, Stella created the Stella Adler Theatre Studio, later renamed the Stella Adler Conservatory of Acting and more recently the Stella Adler Studio of Acting, where she taught acting for many decades,Stella Adler, 91, an Actress And Teacher of the Method New York Times, December 22, 1992.
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At a later date Piscator received the assistance of Buxtorf in the preparation of his Latin translation of the Old Testament, published at Herborn in 1602-1603. From Herborn Buxtorf went to Heidelberg, and thence to Basel, attracted by the reputation of Johann Jakob Grynaeus and J. G. Hospinian (1515–1575). After a short residence at Basel, he studied successively under Heinrich Bullinger (1504–1575) at Zürich and Theodore Beza at Geneva. On his return to Basel, Grynaeus, desirous that the services of so promising a scholar should be secured to the university, procured him a situation as tutor in the family of Leo Curio, son of Celio Secondo Curione, well known for his sufferings on account of the Reformed faith.
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Puritan millennialism has been placed in the broader context of European Reformed beliefs about the millennium and interpretation of biblical prophecy, for which representative figures of the period were Johannes Piscator, Thomas Brightman, Joseph Mede, Johannes Heinrich Alsted, and John Amos Comenius. Like most English Protestants of the time, Puritans based their eschatological views on an historicist interpretation of the Book of Revelation and the Book of Daniel. Protestant theologians identified the sequential phases the world must pass through before the Last Judgment could occur and tended to place their own time period near the end. It was expected that tribulation and persecution would increase but eventually the church's enemies—the Antichrist (identified with the Roman Catholic Church) and the Ottoman Empire—would be defeated.
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He reports that General Ivan Agayants, chief of the KGB's disinformation department, created the outline for what was to become a play mischaracterizing the Pope as a Nazi sympathizer, The Deputy, and that the purported research for the play consisted of forgeries;Kaylan, Melik, Rehabilitating Pope Pius XII, Forbes, Oct. 28, 2008 also that the research was done not by its claimed author Rolf Hochhuth but by KGB agents and that the play's producer, Erwin Piscator, founder of the Proletarian Theater in Berlin who had sought asylum in the USSR during the war, was a devout Communist who had long established ties with the USSR.Crowe, David,The Holocaust: roots, history, and aftermath By , p. 371, Westview Press 2008 The play had its debut at East Berlin's Freie Volksbühne ("Free People's Theater").
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As cited by Bertolt Brecht, there was a play about Rasputin written in (1927) by Alexej Tolstoi and directed by Erwin Piscator that included a recording of Lenin's voice. Whilst the term "sound designer" was not in use at this time, a number of stage managers specialised as "effects men", creating and performing offstage sound effects using a mix of vocal mimicry, mechanical and electrical contraptions and gramophone records. A great deal of care and attention was paid to the construction and performance of these effects, both naturalistic and abstract. Over the course of the twentieth century the use of recorded sound effects began to take over from live sound effects, though often it was the stage manager's duty to find the sound effects and an electrician played the recordings during performances.
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His most popular course, Introduction to the Soviet Union and Successor States, draws as many as 800 students each Spring Quarter.Course Description for Spring 2002 at Northwestern mentions expected enrollment to be 600 "(Weil) is legendary in our department for getting enrollment numbers that no one else can touch," says Clare Cavanagh, current chairwoman of the Slavic department. The large enrollment in Slavic Studies has been attributed to Weil, whose reputation for warmth and passion for his subject, for caring about his students, and for occasionally breaking into Russian song to illustrate a point.According to his Northwestern Faculty Biography, he has worked in the professional theatre both on and off Broadway, together with the renowned German director, Erwin Piscator, who first put Bertold Brecht on the Berlin Stage.
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However, at this stage the young Villarroel had little love for learning and his wayward and disruptive behaviour led to trouble with the authorities. It was only when he began to read the books in his father's shop that he discovered a fondness for mathematics and astrology. Villarroel was in such disgrace with the college authorities that he decided to flee to Portugal where he led an adventurous life in which he was successively a hermit, a dancing-master, an alchemist, a mathematician, a soldier, a bullfighter, a student of medicine and an astrologer. On his return to Salamanca, he settled down to a serious programme of reading books on science, magic and mathematics, while earning his living by publishing almanacs and annual predictions under the pseudonym of "The Great Piscator of Salamanca".
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Grossmith was rarely ill or absent from the stage, however, and Lewis had very few chances to play the roles. His only substantial opportunity to play one of the principal comedian roles came when he played Ko-Ko in The Mikado during August and September 1886. Lewis was, however, given several roles in the short curtain raisers that often were performed together with the Gilbert and Sullivan operas. In these he played Mr. Wranglesbury in Mock Turtles from December 1882 to March 1883, Napoleon Fitz-Stubbs in A Private Wire from March 1883 to January 1884, receiving warm notices,The Times, 2 April 1883, p. 7 the Counsel to the Plaintiff in Trial by Jury from October 1884 to March 1885 and Piscator in The Carp from February 1886 to January 1887.
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It was a family business; his son Nicolaes Visscher I (1618–1679), and his grandson Nicolaes Visscher II (1649–1702) were also mapmakers in Amsterdam on the Kalverstraat.Nicolaes Visscher II in the RKD The times were with the Visschers for other reasons; due to the Protestant reformation, the older Bibles with their "Roman Catholic" illustrations were seen as outdated and apocryphal, but to liven up the new Protestant Bibles for the less well-read clergy, the Visschers produced illustrated maps and even landscapes of the places in the Bible. This became a very successful family business, with collaboration with many respected draughtsmen of the day. A new translation of the Bible was underway in the Netherlands, and until then, the new German translation done by Johannes Piscator, published in 1602–1604, was translated into Dutch.
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Brecht wrote six short poems on hearing of her death, eventually published together as Nach dem Tod meiner Mitarbeiterin M. S. The second reads: My general is fallen My soldier is fallen My pupil has left My teacher has left My nurse is gone My nursling is gone. Brecht's 1955 Collected Works names Steffin as the collaborator on Roundheads and Peakheads, Señora Carrar's Rifles and The Horatians and the Curiatians. In addition Brecht acknowledged her role in Fear and Misery in the Third Reich, Life of Galileo and Mother Courage.letter to Erwin Piscator, 27 May 1940 She is also thought to have had a large hand in Mr Puntila and his Man Matti, The Good Person of Szechwan, The Resistible Rise of Arturo Ui, and The Caucasian Chalk Circle.
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Another development, starting at the beginning of the century, was the belief that puppet theatre, despite its popular and folk roots, could speak to adult audiences with an adult, and experimental voice, and reinvigorate the high art tradition of actors' theatre.Strings, Hands, Shadows: A Modern Puppet History/John Bell/Chapter 6/Detroit Institute of Art/2000 Puppets, a 2002 photo of a lithograph from xerographic direct imaging of two 20th-century hand puppets Sergei Obraztsov explored the concept of kukolnost ('puppetness'), despite Joseph Stalin's insistence on realism. Other pioneers, including Edward Gordon Craig and Erwin Piscator were influenced by puppetry in their crusade to regalvanise the mainstream. Maeterlinck, Shaw, Lorca and others wrote puppet plays, and artists such as Picasso, Jarry, and Léger began to work in theatre.
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Walton did not profess to be an expert with a fishing fly; the fly fishing in his first edition was contributed by Thomas Barker, a retired cook and humorist, who produced a treatise of his own in 1659; but in the use of the live worm, the grasshopper and the frog "Piscator" himself could speak as a master. The famous passage about the frog, often misquoted as being about the worm—"use him as though you loved him, that is, harm him as little as you may possibly, that he may live the longer"—appears in the original edition. Cotton's additions completed the instruction in fly fishing and advised on the making of artificial flies where he listed sixty five varieties. Charles Kirby designed an improved fishing hook in 1655 that remains relatively unchanged to this day.
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Brno 1990. p. 66 Martin and Anna Komenský belonged to the Moravian Brethren, a pre-Reformation Protestant denomination, and Comenius later became one of its leaders. His parents and two of his four sisters died in 1604 and young John went to live with his aunt in Strážnice. Owing to his impoverished circumstances he was unable to begin his formal education until later in life. He was 16 when he entered the Latin school in Přerov (he later returned to this school as a teacher 1614–1618). He continued his studies in the Herborn Academy (1611–1613) and the University of Heidelberg (1613–1614). In 1612 he read the Rosicrucian manifesto Fama Fraternitatis. Comenius was greatly influenced by the Irish Jesuit William Bathe as well as his teachers Johann Piscator, Heinrich Gutberleth, and particularly Heinrich Alsted.
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A Bolshevik, in the twenties she became famous for her proletarian theatre troupes for children and agitprop in Soviet Russia and Latvia. She believed that children's theater could be used as the cornerstone for the children's general education, which was especially important with poor, proletarian children who often had little or no other educational opportunities.Signals from Another World: Proletarian Theater as a Site for Education Texts by Asja Lācis and Walter Benjamin, with an introduction by Andris Brinkmanis South magazine In 1922 she moved to Germany where she got to know Bertolt Brecht and Erwin Piscator, to whom she introduced the ideas of Vsevolod Meyerhold and Vladimir Mayakovsky. In 1924 she met the German philosopher and critic Walter Benjamin in Capri, and the duo would have an intermittent affair for the next several years as he visited her in Moscow and Riga.
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It was a celebration of the art and spirit of fishing in prose and verse; 6 verses were quoted from John Dennys's earlier work. A second part to the book was added by Walton's friend Charles Cotton. Walton did not profess to be an expert with a fishing fly; the fly fishing in his first edition was contributed by Thomas Barker, a retired cook and humorist, who produced a treatise of his own in 1659; but in the use of the live worm, the grasshopper and the frog "Piscator" himself could speak as a master. The famous passage about the frog, often misquoted as being about the worm—"use him as though you loved him, that is, harm him as little as you may possibly, that he may live the longer"—appears in the original edition.
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1943 United States Marine Corps identification card photo From 1947, Beatrice Arthur studied at the Dramatic Workshop of The New School in New York, N.Y. with German director Erwin Piscator. Arthur began her acting career as a member of an off-Broadway theater group at the Cherry Lane Theatre in New York City in the late 1940s. On stage, her roles included Lucy Brown in the 1954 Off-Broadway premiere of Marc Blitzstein's English-language adaptation of Kurt Weill's The Threepenny Opera, Nadine Fesser in the 1957 premiere of Herman Wouk's Nature's Way at the Coronet Theatre, Yente the Matchmaker in the 1964 premiere of Fiddler on the Roof on Broadway. In 1966, Arthur auditioned for the title role in the musical Mame, which her husband Gene Saks was set to direct, but Angela Lansbury won the role instead.
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Statue of Brecht outside the Berliner Ensemble's theatre in Berlin Brecht developed the combined theory and practice of his "Epic theatre" by synthesizing and extending the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside.
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In this last edition the thirteen chapters of the original had grown to twenty-one, and a second part was added by his friend and brother angler Charles Cotton, who took up Venator where Walton had left him and completed his instruction in fly fishing and the making of flies.Chisholm, 1911. Walton did not profess to be an expert with a fishing fly; the fly fishing in his first edition was contributed by Thomas Barker, a retired cook and humorist, who produced a treatise of his own in 1659; but in the use of the live worm, the grasshopper and the frog "Piscator" himself could speak as a master. The famous passage about the frog, often misquoted as being about the worm—"use him as though you loved him, that is, harm him as little as you may possibly, that he may live the longer"—appears in the original edition.
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Vanemuine Theatre from 1918 in Tartu, Estonia. Through the 19th century, the popular theatrical forms of Romanticism, melodrama, Victorian burlesque and the well-made plays of Scribe and Sardou gave way to the problem plays of Naturalism and Realism; the farces of Feydeau; Wagner's operatic Gesamtkunstwerk; musical theatre (including Gilbert and Sullivan's operas); F. C. Burnand's, W. S. Gilbert's and Oscar Wilde's drawing-room comedies; Symbolism; proto-Expressionism in the late works of August Strindberg and Henrik Ibsen; and Edwardian musical comedy. These trends continued through the 20th century in the realism of Stanislavski and Lee Strasberg, the political theatre of Erwin Piscator and Bertolt Brecht, the so-called Theatre of the Absurd of Samuel Beckett and Eugène Ionesco, American and British musicals, the collective creations of companies of actors and directors such as Joan Littlewood's Theatre Workshop, experimental and postmodern theatre of Robert Wilson and Robert Lepage, the postcolonial theatre of August Wilson or Tomson Highway, and Augusto Boal's Theatre of the Oppressed.
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Creley was born in Chicago, Illinois on March 6, 1926. During the Great Depression, his family moved to California, where he acted in amateur theatre as a teenager, until he was old enough to enlist in the United States Army late in World War II. He was shot in the shoulder during the Battle of Okinawa, and spent the rest of his life telling the story that he knew he was destined to become an actor when he realized he was responding to the injury like a character in a John Wayne film. After the end of the war, he went to New York City to study acting under Erwin Piscator at the Dramatic Workshop, where he was a classmate of Harry Belafonte, Tony Curtis and Rod Steiger. He moved to Montreal in 1951 to take a job with the Mountain Theatre Company, and remained there until 1954, when he moved to Toronto.
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The party was consciously modeled on structures devised by Lenin, and within its Agitprop department, Gertrud headed up the culture department. She took responsibility for the "Feuilleton" supplement in the party newspaper Die Rote Fahne ("The Red Flag"). During her time as editor of the "Feuilleton" supplement between 1919 and 1925 around 160 of her contributions appeared, and she was widely seen as the most important arts and culture critic in the Communist Party. In April 1923 she also started to work in the party's main Training and Propaganda section. In the so-called Kunstlump debate, ignited on the political left during 1920, Alexander took a position resolutely opposed to that of John Heartfield and George Grosz. Her rejection of "Dadaist anti-art" was set out clearly in her address on the opening of Berlin's first proletarian theatre by Erwin Piscator at the end of 1920.Literatur im Klassenkampf, Walter Fähnders, Martin Rector (Hrsg.), 1974 In 1923, together with Hermann Duncker and Karl August Wittfogel, she devised the "Emergency Cultural Political Programme of the Communist Party".
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According to Pacepa, in February 1960, Nikita Khrushchev authorized a covert operation to discredit the Vatican's moral authority in Western Europe with a campaign of disinformation due to its fervent anticommunism, Pope Pius XII being the prime target. The motto of Seat 12 was "Dead men cannot defend themselves", since Pius died in 1958. Pacepa states that General Ivan Agayants, chief of the KGB's disinformation department, created the outline for what was to become a play mischaracterizing the Pope as a Nazi sympathizer, The Deputy; that the purported research for the play consisted of forgeries; that the research was done not by its claimed author Rolf Hochhuth, but by KGB agents; and that the play's producer, Erwin Piscator, founder of the Proletarian Theater in Berlin who had sought asylum in the USSR during the war, was a devout Communist who had long established ties with the USSR. Pacepa states that the KGB employed Romanian spies to feign that Romania was preparing to reestablish diplomatic relations with the Holy See.
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The history of collaboratively devised performance is as old as the theatre: we see prototypes of contemporary devising practice in ancient and modern mime, in circus arts and clowning, in commedia dell'arte; some cultural traditions, indeed, have always created performance through predominantly collectivist methods (theatre scholar and performance maker Nia Witherspoon, for instance, has argued that the very term "collective creation," with its implicit dichotomy of self vs. other, is inherently eurocentric). Theatre historians Kathryn Syssoyeva and Scott Proudfit have argued that the modern, European tradition of collective creation follows rapidly upon the emergence of directing as a profession, and unfolds in three overlapping waves (marked by distinctive processual, aesthetic, and political characteristics): 1900-1945, 1945-1985, and 1985 to the present. Elements of collective devising appear in the work of European directors at least as early as 1905, beginning with early experiments facilitated by such directors and groups as Vsevolod Meyerhold and Evgeny Vakhtangov (Russia), Jacques Copeau and the Copiaus, and Michel Saint-Denis and the Compagnie des Quinze (France), Reduta (Poland), and Erwin Piscator (Germany).
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Bernice Loren co-founded with Roland F. Bernhagen and Marilyn Lief Kramberg Expressions, a not-for-profit theatre school: "I developed something of a crusading spirit about the quality of theatre and of theatre practice. I think acting is at its most exciting and rewarding when, along with the ability to communicate with and affect the audience, there is a characterization so full and true that the actor may not even be recognizable from role to role." Her initial theatre training was with Erwin Piscator and included studies with Lee Strasberg, Reiken Ben-Ari, Valerie Bettis, Marian Rich, and many others. Throughout her professional career she has continued to study, experiment, and do research for her work. From a throughout background in Stanislavski’s approach she went on to investigate various acting methods and styles, performing under and observing foreign specialists at work, among them Ono’é Baiko VII, George Devine, Yuri Zavadasky, Dimitros Rondiris, Jacques Charon. To modern dance instruction she added ballet, period manners and movement (William Burdick), Mensendieck, Yoga (Acharya and Hatha), and T’ai Chi Ch’uan.
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