Biodeterioration and cellulolytic activity by fungi isolated from a nineteenth-century painting at the National Theatre of Costa Rica

2021 ◽  
Author(s):  
Sofía Vieto ◽  
Efraín Escudero-Leyva ◽  
Roberto Avendaño ◽  
Noelia Rechnitzer ◽  
Melissa D. Barrantes-Madrigal ◽  
...  
Keyword(s):  
Nineteenth Century ◽  
Costa Rica ◽  
Cellulolytic Activity ◽  
National Theatre

Celtic Revival

2018 ◽  
Author(s):  
Lisa Weihman
Keyword(s):  
Nineteenth Century ◽  
Cultural Anthropology ◽  
Irish Literature ◽  
Late Nineteenth Century ◽  
Abbey Theatre ◽  
National Theatre ◽  
Celtic Revival ◽  
Literary Revival ◽  
Late Nineteenth ◽  
Douglas Hyde

The Celtic Revival was a late-nineteenth-century resurgence of interest in Celtic history, languages and myths that crossed through many disciplines, most notably cultural anthropology, art history and literature. The Celtic Revival was most influential in Ireland, where it inspired the formation of the Gaelic Athletic Association (GAA; Cumann Lúthchleas Gael) in 1884, which was dedicated to the recovery of ancient Irish sports. In 1893, Douglas Hyde (1860–1949) helped to establish the Gaelic League (Conradh na Gaeilge) in order to preserve the Irish language and promote Irish culture. The Celtic Revival is also associated with the Irish Literary Revival. The latter, which covers the renaissance of Irish literature and poetry that took place in the late nineteenth and early twentieth centuries, is also referred to as the ‘Celtic Twilight’, a term borrowed from the title of William Butler Yeats’s (1865–1939) 1893 volume. Inspired by the poetry of Thomas Moore (1478–1535), James Clarence Mangan (1803–1849) and Samuel Ferguson (1810–1886), as well as by the folktales published by Standish James O’Grady (1869–1928), Yeats established both the Irish Literary Society in London and the National Literary Society in Dublin in 1892. In 1899, Yeats established the Irish Literary Theatre, which would become the Irish National Theatre Society at the Abbey Theatre in Dublin in 1904.

The Expropriation of Pious and Corporate Properties in Costa Rica, 1805-1860: Patterns in the Consolidation of a National Elite

1983 ◽  
Vol 39 (3) ◽  
pp. 281-303
Author(s):  
Lowell Gudmundson
Keyword(s):  
Nineteenth Century ◽  
Costa Rica ◽  
El Salvador ◽  
Central America ◽  
Church And State ◽  
Political Influence ◽  
Political Actor ◽  
Constant Feature ◽  
The Church

Conflicts between Church and State, and between liberals and conservatives over the role of the Church, were a constant feature of nineteenth-century Mesoamerican history. These struggles eventually stripped the Church of much of its wealth, with a consequent decline in its political influence. However, the timing of this disinvestiture, the composition of liberal and conservative factions, and the role of the Church varied substantially throughout Mexico and Central America.In Mexico, Guatemala, and El Salvador, the Church survived the turmoil of the Independence period, to continue as a major holder of wealth and an important political actor. Notwithstanding repeated royal attacks upon Church prerogatives, and innumerable forced loans levied by both colonial and national authorities against Church wealth, the decisive confrontation between the Church and the Liberal-dominated State in these nations awaited the second half of the nineteenth century.

Gogol's ‘The Government Inspector’ at the National Theatre, 1985

1987 ◽  
Vol 3 (12) ◽  
pp. 358-376
Author(s):  
Mark Hawkins-Dady
Keyword(s):  
Nineteenth Century ◽  
Graduate Student ◽  
Doctoral Dissertation ◽  
Russian Society ◽  
Early Nineteenth Century ◽  
National Theatre ◽  
The Social ◽  
Close Observation ◽  
The Government

Although numbered among the earliest of masterpieces from the modern repertoire, Gogol'sThe Government Inspectorhas its roots deep in earlier Russian society, and much of its apparent humour is based on close observation of the gradations and prejudices of provincial Russian society in the early nineteenth century. In a detailed exploration of the revival in the National Theatre's Olivier auditorium, Mark Hawkins-Dady relates the play to its origins, suggesting that the director Richard Eyre stuck closely to the metaphorical truth, at least, of the social ambience selected by Gogol – and that the apparently eccentric casting of ‘alternative comedian’ Rik Mayall in the central role closely reflected Gogol's own feelings about the nature and playing of the character. Mark Hawkins-Dady is a graduate student in the Drama Department of Royal Holloway College. University of London, currently preparing a doctoral dissertation on directing practices at the National Theatre.

scholarly journals Re-gendering the Libertine; or, the Taming of the Rake: Lucy Vestris as Don Giovanni on the early nineteenth-century London stage

1998 ◽  
Vol 10 (1) ◽  
pp. 45-66 ◽  
Author(s):  
Rachel Cowgill
Keyword(s):  
Nineteenth Century ◽  
Tirso De Molina ◽  
Don Juan ◽  
Early Nineteenth Century ◽  
National Theatre ◽  
Don Giovanni ◽  
London Stage

When Luigi Bassi entered the stage of the Prague National Theatre in 1787 to create the title role of Mozart and Da Ponte's Don Giovanni, he could have drawn inspiration from a rich tradition of theatrical, pantomimic and marionette representations of the legendary Don Juan, to which this new opera was the latest contribution. Previous incarnations had been shaped by the likes of Tirso de Molina, Molière, Shadwell, Purcell and Gluck; yet it is Mozart and Da Ponte's version that has for us become the definitive: the Don as paradox; an uncomfortable blend of the despicable and the admirable, hero and anti-hero. Lecher, rapist, liar, cheat, murderer, he is the brutal epitome of macho striving for power and domination, yet clothed with a seductive panache, conviction and bravado — the reckless-heroic libertine phallocrat who would rather face the fires of eternal damnation than curb his appetites.

“What Really Happens Backstage”: A Nineteenth-Century Kabuki Document

1997 ◽  
Vol 38 (2) ◽  
pp. 109-128
Author(s):  
Samuel L. Leiter
Keyword(s):  
Nineteenth Century ◽  
Academic Community ◽  
Publication Date ◽  
Edo Period ◽  
National Theatre ◽  
History Of ◽  
Source Of Information

In 1967 the National Theatre of Japan (Kokuritsu Gekijô) published a facsimile version of Okyôgen Gakuya no Honsetsu (What Really Happens Backstage), a two-volume, four-part work, originally published in the midnineteenth century in Edo (Tokyo), and written by Santei Shunba, with the first volume (1858) illustrated by Baichôrô Kunisada and Ichieisai Yoshitsuya, and the second (1859) by Ichiransai Kunitsuna. The book offers numerous illustrations of kabuki stage effects, with brief explanations of their purposes. Despite its great value as a historical resource, this work had been barely known to the Japanese academic community, apart from the fact that one of its pictures appeared in Ihara Toshirô's 1913 Kinsei Nihon Engeki Shi (History of Japanese Theatre from the Edo Period) and was reproduced frequently thereafter. The chief source of information concerning its contents was an entry in the six-volume Engeki Hyakka Daijiten (Encyclopedia of the Theatre), published by Waseda University in 1962. This entry contained several inaccuracies, including errors in the number of the book's volumes and its publication date.

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