scholarly journals "Callas in Concert: sobre el holograma, el recuerdo y la presencia

2020 ◽  
Vol 45 (2) ◽  
pp. 317-339
Author(s):  
Lorena Rojas Parma
Keyword(s):  
Lincoln Center

El artículo se propone una reflexión crítica sobre el fenómeno del holograma en concierto, a través del “Callas in Concert”, del Rose Theater at Lincoln Center. Para ello, se diserta sobre la imagen, la reproducción y la condición de imitación del holograma con relación al original, y la calidad de esa experiencia estética. Asimismo, se analiza su función de pharmakon para la memoria humana, las profundas diferencias que guarda con el recuerdo, y lo que puede afectar nuestras relaciones con el pasado. Finalmente, si fenómenos como el holograma en concierto, son muestras de la condición ‹‹irreemplazable›› –como sostiene Gadamer- de la experiencia en directo.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

Dieter Hacker's Mask for Timon of Athens

1995 ◽  
Vol 36 (2) ◽  
pp. 89-90
Author(s):  
GJW
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Cultural Center ◽  
Stage Design ◽  
York Public Library ◽  
New York Public Library ◽  
Lincoln Center ◽  
The One ◽  
Timon Of Athens

For the well-received 1990 Bochum Schauspielhaus production of Shakespeare's Timon of Athens, Dieter Hacker, one of Germany's leading artists and stage designers, created fifty-four masks, including the one on the opposite page for Timon himself (Figure I). This mask, Hacker's designs, and photographs of the production were seen in the recent exhibition “Contemporary Stage Design from German and Austria” at the New York Public Library for the Performing Arts, Lincoln Center, presented in collaboration with the Goethe House and German Cultural Center in New York.

Growing Pains

Dearest Lenny ◽  
2019 ◽  
pp. 36-41
Author(s):  
Mari Yoshihara
Keyword(s):  
Performing Arts ◽  
Classical Music ◽  
Recording Industry ◽  
Leonard Bernstein ◽  
White House ◽  
Growing Pains ◽  
Close Relationship ◽  
Lincoln Center ◽  
Kennedy Family ◽  
International Status

Leonard Bernstein conducting the inaugural concert of the Philharmonic Hall in Lincoln Center for the Performing Arts in 1962 symbolized the national and international status he had achieved. Through his close relationship with the Kennedy family and his continued ties to the White House, combined with his unrivaled place in the world of the performing arts, Bernstein was a prime candidate to lead the John F. Kennedy Center for the Performing Arts. To manage the ever expanding scope of his work, Bernstein’s company, Amberson Enterprises, professionalized and corporatized its operations under Schuyler Chapin. But the popular leaning of the recording industry was beginning to cause some issues even for the foremost leader of American classical music.

Blau and Irving at Lincoln Center: II

1966 ◽  
Vol 11 (1) ◽  
pp. 21
Author(s):  
Richard Schechner
Keyword(s):  
Lincoln Center

LINCOLN CENTER AND NEW YORK

1972 ◽  
Vol 3 (1) ◽  
pp. 75-96
Author(s):  
Martin Mayer
Keyword(s):  
New York ◽  
Lincoln Center

Impressions After an Exhibition

Tempo ◽  
1972 ◽  
pp. 2-9
Author(s):  
Claudio Spies
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Research Library ◽  
York Public Library ◽  
New York Public Library ◽  
Public Property ◽  
Positive Sense ◽  
90Th Anniversary ◽  
Lincoln Center

During these summer months the New York Public Library has been holding an exhibition at the Research Library of the Performing Arts, Lincoln Center, of manuscripts, drafts, annotations, letters, photographs, posters, objets, objets d'art, and other memorabilia selected from Stravinsky's legacy, and lent by his widow. The exhibition is unprecedented with respect to the collection of objects on display—since, for one thing, it is presumably only after so public a figure's demise that an assortment of this kind becomes open to the possibility of being thus exhibited—although a number of items had been familiar in published form. It is also, I conjecture, the first in a potential succession of exhibitions (depending, primarily, upon the eventual location of, and time at which, the entire legacy of these materials may become, as is to be hoped, in the most positive sense, public property), and it was mounted in conjunction with a Stravinsky Festival celebrating the 90th anniversary of the composer's birth.

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