“MASS” BY LEONARD BERNSTEIN: FROM CATHOLIC MASS TO A THEATRICAL PLAY

Author(s):  
SVETLANA KEKOVA ◽  
◽  
ALYONA PANKOVA
2009 ◽  
Author(s):  
Barry Seldes
Keyword(s):  

2018 ◽  
pp. 76-102
Author(s):  
T P. Lonngren

After a short summary of the story behind K. Hamsun’s play In the Grip of Life [Livet i Vold], its plot and stage history in Russia, the article proceeds to tell about an unknown film script. Cinematic adaptations of Hamsun’s books have always dominated Norwegian literature, while none of his dramatic pieces have made it to the screen. However, a film script was uncovered, an adaptation of In the Grip of Life: a play specially written for a Russian theatre. The script was found in the Russian State Archive of Literature and Arts, among the documents of Evgeny Sergeevich Khokhlov. Based on the history of filmmaking and relevant filmography, Khokhlov’s film script is not just the only attempt at film adaptation of a Hamsun play, but the first ever project based on a theatrical play in Russian cinematic history. Written almost 100 years ago, the script is far from perfect in the modern understanding of filmmaking; nonetheless, it has certain merits in the eyes of contemporaries. The very attempt to interpret the play by means of a nascent artistic genre may be considered a proof of its relevance to Russian audiences at the time.


Author(s):  
Michael Sy Uy

From the end of World War II through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to “ask the experts,” adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was twofold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but also, in doing so, they determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants’ sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how “expertise” served as an exclusionary form of cultural and social capital that prevented racial minorities and nondominant groups from fully participating.


2019 ◽  
Vol 20 (3) ◽  
pp. 251-260
Author(s):  
Dana Compton McCullough

In this article, I explore the unique affordances of narrative and performance in creating opportunities to linger with Henrietta Lacks. I first unpack the complexity of the story, as we know it, and tease out some of the significant themes. I focus on the metamorphic nature of Henrietta’s narrative and discuss her life, death, extinction and ressurection situated in racism. Without her knowledge, Henrietta Lacks became a research subject. Scientists erased her identity, wishing to conceal their own improprieties in taking her cells without permission. Although her identity was erased, Henrietta’s cells gained immortality before her physical death, and her story is now reiterated in the work of Skloot and other literature, as though the narrative performed a kind of resurrection. I discuss how cell science thrived in part through leveraging different kinds of erasure and resurrection. Then, drawing on my experiences as an educator exploring Lack’s story with grade 9 biology students, I present a theatrical play that weaves together students’ retelling of the story. I hope this article provides opportunities to linger and contemplate the power of science and its role in metamorphic nature-cultures.


Author(s):  
Dave Headlam

The information age has pushed music performance into the era of music informance, in which information and performance are combined in an integrated way. The types of presentation formats and analytical information found in public music theory are ideal for music informance, and present-day explorations of informance on the Internet have a history of noted musical informants including Leonard Bernstein and Glenn Gould. In order to continue to be relevant and to thrive in our connected world, live and recorded music scenarios need to develop ever more innovative ways to enhance music performance with information effectively presented in music informance.


2018 ◽  
pp. 757-766
Author(s):  
Dmytro Vernyhor

The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.


2018 ◽  
Vol 6 (2) ◽  
pp. 96
Author(s):  
Maria Mpella ◽  
Christina Evaggelinou

This systematic review cites a number of programs and critically analyzes methods and measures used to develop social skills in young students with Autism Spectrum Disorders (ASD). Social skills are interpreted through a ToM theory lens, emphasizing interactions such as understanding, explaining, predicting, and manipulating the behavior of themselves and the others. The aim of this review is to study the role of the theatrical play programs and its effect on social interactions and social skills on students with ASD. An online search through Proquest and First Search resulted in twelve studies of diverse methodologies. All these studies support the value of theatrical play as a means of social skill development. More specifically, the qualitative, as well as the quantitative data, indicate the benefits of these programs on ASD students’ social skills such as cooperation, communication, and social awareness. More longitudinal studies are needed to develop and test pedagogical strategies for social skills development of ASD students in light of theatrical play activities. In addition, studies should be geared towards the teacher’s ability to teach theatrical play and thus promote social interaction between students with and without ASD in integrated school environments. Synchronizing theory with art and cooperative play seems to be the key to answer such assumptions positively.


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