View allAll Photos Tagged Humility
zp.214
*** THE WORLD IS WHAT WE MAKE OF IT ***
About ...
Steel rails that once fed the powers of industry in Buffalo. These are along a line that stretches from the feet of Bethlehem Steel, to the grain elevators in South Buffalo, and towards the Ford Motor plant just south of there. The corridors of wealth, as I like to call it, have long dried up and are a shell of their former selves, but like the Phoenix rising from the ashes this city reinvents itself not through the amassing tools of steel or the ships of the Great Lakes, but the people who breath small businesses to life from an ember of hope and humility. They are the wealth of this city now, and will make it stronger as time passes. We are uncertain about what paths are ahead of us, but will prevail.
We.Are.Buffalo
"The Virgin Mary, in her docile humility, became the handmaid of divine Love: she accepted the Father's will and conceived the Son by the power of the Holy Spirit. In her the Almighty built a temple worthy of him and made her the model and image of the Church, mystery and house of communion for all human beings. May Mary, mirror of the Blessed Trinity, help us to grow in faith in the Trinitarian mystery" – Pope Benedict XVI.
Today is the Solemnity of the Most Holy Trinity, and also the last day of Our Lady's month.
My sermon for today can be read here.
Boss in the Dominican church of San Esteban in Salamanca.
This is "Dunnock Day" in the Bothy.
AKA Hedge Sparrow, an unassuming and little noticed wee bird, content to live in the undergrowth on crumbs from the rich birds' table.
To understand the significance of a small golden Buddha statue beneath a large Buddha, consider these points: It is a symbol of humility....the small statue represents humility and the importance of inner peace over size or grandeur; It is a symbol of spiritual growth.... It signifies the journey of spiritual growth, where the smaller golden Buddha embodies the potential for enlightenment; It is a symbol of the balance of power...the juxtaposition highlights the balance between power (large Buddha) and wisdom (small Buddha).
The small Buddha suggests that the teachings of Buddhism are accessible to all, regardless of stature; It focuses on inner qualities and emphasizes that true value lies in inner qualities.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
In the collection of the North Carolina Museum of Art, the painting in oil on wood and dates from circa 1518. The band of discoloration at the top is a consequence of not knowing how to take indoor shots. Lucas Cranach the Elder (1472-1553), friend of Martin Luther, was a German Renaissance painter and printmaker. He was known for his portraits, religious subjects (at first representing Catholicism then later Protestantism), hunting scenes, and mythological scenes. The placard in the museum states: “In this picture the Madonna and child are placed in an extensive northern European landscape with pine trees and a fanciful gated city in the distance. The Madonna is seated on the ground, emphasizing her humility, while the pensive Christ child reaches for as bunch of grapes, a symbol of the Eucharistic wine and, by association, his sacrifice on behalf of his followers.” The painting, after determination that Nazis had illegally seized from Philipp von Gomperz, it was restituted to the rightful owner. It then returned to the museum as a partial gift and partial purchase.
The Wikipedia article is at en.wikipedia.org/wiki/Lucas_Cranach_the_Elder
You can view numerous art works online at World Gallery of Art
www.wga.hu/frames-e.html?/bio/c/cranach/lucas_e/biograph....
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
“We're sitting on our blessed Mother Earth from which we get our strength and determination, love and humility ~ all the beautiful attributes that we've been given. So turn to one another; love one another; respect one another; respect Mother Earth; respect the waters - because that's life itself!”
~ Phil Lane, Sr., YANKTON SIOUX
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Boy I think about it every night and day
I'm addicted wanna jump inside your love
I wouldn't wanna have it any other way
I'm addicted and I just can't get enough
I just can't get enough
I just can't get enough
I just can't get enough
I just can't get enough
Honey got a sexy all steamin
She givin hotness a new meanin
Perfection mama you gleamin
Inception you got a brother dreamin dreamin
Damn baby I'm feignin
I'm trynna holler at you, I'm screamin
Let me love you down this evenin
Love you love you ya you know you are my demon
Girl we could form a team and
I could be the king you could be the queen and
My mind's dirty and it don't need cleanin
I love you long time so you know the meanin
Oh baby I can't come down so please come help me out
You got me feelin high and I can't step off the cloud
And I just can't get enough
Boy I think about it every night and day
I'm addicted wanna jump inside your love
I wouldn't wanna have it any other way
I'm addicted and I just can't get enough
I just can't get enough
I just can't get enough
I just can't get enough
I just can't get enough
Honey got me runnin like I'm flow joe
Signs her name on my heart with an X-O
Love's so sweet got me vexed oh
I wanna wish it right back like presto, yes
Meantime I wait for the next time
She come around 'fore I toast to the best time
We lol back and forth on the text line
She got me fishin for her love I confess I'm
Somethin bout her smile and that combo
Got me high and I ain't comin down yo
My heart's pumpin out louder than electro
She got me feelin like Mr. Roboto
Oh baby I can't come down so please come help me out
You got me feelin high and I can't step off the cloud
And I just can't get enough
Boy I think about it every night and day
I'm addicted wanna jump inside your love
I wouldn't wanna have it any other way
I'm addicted and I just can't get enough
*this is mega switch up*
switch up
switch up
I just can't
switch up
Not
Sunk in your bed rock
Caught
Up in your love shock
Knocked
Out by your cold shot
I'm stuck in your head li-
switch up
Can't get out won't when
Makin me feign, give it to me
I want it all, know what I mean
Your love is a dose of ecstasy
switch up
Addicted
I can't get
Away from
You
Afflicted
I need it
I'm missin
switch up
I want your lovin right next to me
And I can't
Erase ya out of my memory
I just can't
switch up
* Just Can't Get Enough * ~ by Black Eyed Peas
All Saints, Bingley, West Yorkshire.
East Window, 1890 - detail.
Charity - Purity - Love - Truth - Humility.
Designed by Henry Holiday (1839-1927).
Made by James Powell & Sons.
Henry George Alexander Holiday entered the Royal Academy Schools at the age of 15 and was soon drawn to the ideas, and the artists, of the Pre-Raphaelite movement. He succeeded Edward Burne-Jones as the chief designer for the stained glass firm James Powell & Sons in 1863 and his style had a long-lasting effect on their production into the 1920s. Some of his windows were made by Lavers & Barraud and Heaton, Butler & Bayne, and after eventually ending his association with Powells, he established his own workshop in 1890. From about 1900 he even made his own glass at the workshop. His later work was made at the Glass House, Fulham.
Henry Holiday also worked as a painter, illustrator and sculptor, and his broad range of interests led to involvement in the campaign for Irish Home Rule, women's suffrage and dress reform.
I receive peace
In abundant measure
When I take my mind
To fly with me
In my simplicity, sincerity,
Humility and purity-plane
In the Sky of God’s Compassion,
Protection and Satisfaction
Humility
What is humility,
If not our soul’s nobility
Revealed in and through
Our lives?
Sri Chinmoy, Twenty-Seven Thousand Aspiration-Plants, part 268, Agni Press, 1998
Señor de la Pacencia / The Lord of Humility
Front View
18th Century
Soft wood and polychromy
Left arm missing.
Attributed to the Panay School
Provenance: Collection of Dr. Porfirio J. and Mrs. Socorro Rodriguez Callo
Purchased from Likhâ Gallery in the late 1970s.
National Museum registration sticker in back.
A small, table-top image of the Senor de la Pacencia made of soft wood with traces of original polychromy. The Christ figure is sitting on a piece of wood naturalistically painted to look like a stump complete with tree bole.
The left arm is screwed into the shoulder at the upper joint. Lower hand missing. Wooden screw still visible. This indicates that the arm may have been artuculated at one time.
The body color has faded to a pleasing brown color. The savage wounds inflicted on Christ's back is very much evident in the deep grooves incised into the back of the Christ figure. The hair of the patient Christ is carved into thick individual strands typical of sculptures of the 18th century.
(known as Fray broom) Your party is held on November 3.
Fray Broom San Martín de Porres was born in Lima in the year 1579. He was the son of a Spanish Hidalgo, D. Juan de Porres, and a mulatto girl, Ana Velázquez. Martín was baptized in the Church of San Sebastián, in the same baptismal font that seven years later would be Santa Rosa de Lima.
Since childhood Martin was very generous with the poor, who gave part of the money when he went shopping. His mother often carried him to the temple. His father, Governor of Panama, gave him a good education.
Martín learned the barber trade, which included surgeon and general medicine. He fulfilled his trade well, especially in favor of the poor, and took the opportunity to speak to them of God, and it was such his kindness that touched all. I worked for the day. At night he was engaged in prayer.
At the age of fifteen he entered as a Dominican tertiary in the convent of Rosario de Lima. There he was happy, serving with humility and charity to the inside and the outside. He turned the convent into a hospital. He collected sick and wounded in the streets, loaded them on his shoulders and laid them down in his own bed. He cared for them and pampered them like a mother. Some religious protested, because it violated the closing and the peace. The charity is above the closing, answered Martín. His rudimentary medicines, and even more his hands, worked cures and miracles. His charity extended to the poor little animals he found hungry and wounded.
There were a lot of homeless people in Lima. He sought money and founded the Santa Cruz Asylum for boys and girls. There he cared for them and taught a profession.
His favorite devotions were: Christ crucified, and in memory of the sufferings of Christ on the Cross, three daily disciplines were given. Jesus Sacrament, and spent hours before the Blessed Sacrament with frequent ecstasy. The Virgin Mary-especially under the dedication of the Rosary-with whom she chatted lovingly. And the Guardian Angel, who came very often. He fought tenaciously against sleep in prayer.
It reputó control over nature, the plants it sowed germinated before time and all kinds of animals tended to their mandates. One of the most famous episodes of his life is that he made eat from the same dish to a dog, a mouse and a cat in complete harmony. He was also attributed the gift of healing, of which there are many testimonies, the most extraordinary being the healing of hospice patients. «I heal you, God heals you» was the phrase he used to say to avoid samples of veneration to his person.
When smallpox started wreaking havoc in Lima, Martin's activity and care multiplied. Everywhere he had consolation and remedy. He was told that he enjoyed the privilege of multilocation (being in several places at once), seeing him healing and comforting simultaneously in several places. Everyone came to him. They all had him for a saint. It was the angel of Lima.
That superhuman effort came to weaken him dangerously. He fell ill. He knew he wouldn't come out of that disease. It suffered then many attacks of the demon, but felt the consolation and company of the Virgin.
When he saw that the happy moment of going to enjoy God was near, he asked the religious around him to entonasen the creed. As they sang it, he gave his soul to God. It was November 3, 1639.
His death caused deep commotion in the city. He had been the brother and nurse of all, singularly of the poorest. Everyone was disputing to get some relic. The whole city gave him the last farewell.
His cult has spread prodigiously. Gregory XVI declared it beatus on 1837. It was canonized by John XXIII in 1962. The Pope recalled, in the homily of canonization, the devotions in which the new saint had been distinguished: his profound humility which made him consider all superior to him, his apostolic zeal, and his continual sleeplessness to care for the sick and needy, which would It was worth, on the part of all the people, the beautiful nickname of "Martín de la Caridad".
(conocido como Fray Escoba) Su fiesta se celebra el 3 de Noviembre.
Fray Escoba San Martín de Porres nació en Lima el año 1579. Era hijo de un hidalgo español, D. Juan de Porres, y de una muchacha mulata, Ana Velázquez. Martín fue bautizado en la iglesia de San Sebastián, en la misma pila bautismal en que siete años más tarde lo sería Santa Rosa de Lima.
Desde niño fue Martín muy generoso con los pobres, a los que daba parte del dinero cuando iba de compras. Su madre lo llevaba con frecuencia al templo. Su padre, gobernador de Panamá, le procuró una buena educación.
Martín aprendió el oficio de barbero, que incluía el de cirujano y la medicina general. Cumplía bien su oficio, sobre todo en favor de los pobres, y aprovechaba la ocasión para hablarles de Dios, y era tal su bondad que conmovía a todos. Por el día trabajaba. Por la noche se dedicaba a la oración.
A los quince años entró como terciario dominico en el convento del Rosario de Lima. Allí fue feliz, sirviendo con humildad y caridad a los de dentro y a los de fuera. Convirtió el convento en un hospital. Recogía enfermos y heridos por las calles, los cargaba sobre sus hombros y los acostaba en su propia cama. Los cuidaba y mimaba como una madre. Algunos religiosos protestaron, pues infringía la clausura y la paz. La caridad está por encima de la clausura, contestaba Martín. Sus rudimentarias medicinas, y más aún sus manos, obraban curaciones y milagros. Su caridad se extendía a los pobres animalitos que encontraba hambrientos y heridos.
Había muchos vagabundos por Lima. Buscó dinero y fundó el Asilo de Santa Cruz para niños y niñas. Allí les cuidaba y enseñaba una profesión.
Sus devociones preferidas eran: Cristo Crucificado, y en recuerdo de los sufrimientos de Cristo en la Cruz se daba tres disciplinas diarias. Jesús Sacramentado, y pasaba horas ante el Santísimo con frecuentes éxtasis. La Virgen María -sobre todo bajo la advocación del Rosario- con la que conversaba amorosamente. Y el ángel de la guarda, al que acudía con mucha frecuencia. Luchaba tenazmente contra el sueño en la oración.
Cuando la viruela empezó a causar estragos en Lima, la actividad y los cuidados de Martín se multiplicaron. A todas partes llevaba consuelo y remedio. Se cuenta que gozó del privilegio de la multilocación (estar en varios lugares a la vez), pues le veían curando y consolando simultáneamente en varios sitios. Todos acudian a él. Todos le tenían por santo. Era el ángel de Lima.
Aquel esfuerzo sobrehumano llegó a debilitarle peligrosamente. Cayó enfermo. Él sabia que no saldría de aquella enfermedad. Sufrió entonces muchos ataques del demonio, pero sintió el consuelo y compañía de la Virgen.
Cuando vio que se acercaba el momento feliz de ir de gozar de Dios, pidió a los religiosos que le rodeaban que entonasen el Credo. Mientras lo cantaban, entregó su alma a Dios. Era el 3 de noviembre de 1639.
Su muerte causó profunda conmoción en la ciudad. Había sido el hermano y enfermero de todos, singularmente de los más pobres. Todos se disputaban por conseguir alguna reliquia. Toda la ciudad le dio el último adiós.
Su culto se ha extendido prodigiosamente. Gregorio XVI lo declaró Beato el 1837. Fue canonizado por Juan XXIII en 1962. Recordaba el Papa, en la homilía de la canonización, las devociones en que se había distinguido el nuevo Santo: su profunda humildad que le hacía considerar a todos superiores a él, su celo apostólico, y sus continuos desvelos por atender a enfermos y necesitados, lo que le valió, por parte de todo el pueblo, el hermoso apelativo de "Martín de la caridad".
Se le reputó control sobre la naturaleza, las plantas que sembraba germinaban antes de tiempo y toda clase de animales atendían a sus mandatos. Uno de los episodios más conocidos de su vida es que hacía comer del mismo plato a un perro, un ratón y un gato en completa armonía. Se le atribuyó también el don de la sanación, de los cuales quedan muchos testimonios, siendo los más extraordinarios la curación de enfermos desahuciados. «Yo te curo, Dios te sana» era la frase que solía decir para evitar muestras de veneración a su persona.
Según los testimonios de la época, a veces se trataba de curaciones instantáneas, en otras bastaba tan solo su presencia para que el enfermo desahuciado iniciara un sorprendente y firme proceso de recuperación. Normalmente los remedios por él dispuestos eran los indicados para el caso, pero en otras ocasiones, cuando no disponía de ellos, acudía a medios inverosímiles con iguales resultados. Con unas vendas y vino tibio sanó a un niño que se había partido las dos piernas, o aplicando un trozo de suela al brazo de un donado zapatero lo curó de una grave infección.
Fiestas en honor a San Martín de Porres
En Perú, gracias a los frailes dominicos de Lima, las celebraciones en honor a San Martín de Porres se celebran durante 40 días. Mediante esta extensa celebración, el objetivo de los dominicos es fomentar la devoción a este querido gran santo.
Las festividades comienzan el 31 de octubre dado que es el día previo en el que se coloca la imagen del santo durante todo el mes de noviembre en un trono especial en el convento de Santo Domingo, donde vivió y murió. Las celebraciones terminarán el 9 de diciembre, dado que ese día se conmemora el nacimiento de San Martín de Porres.
Las actividades programadas para esos 40 días están inspiradas en las obras de caridad del santo peruano y en su importancia cultural. Estas son algunas de las actividades que se realizarán en el Convento de Santo Domingo y en la Basílica del Santísimo Rosario ubicada allí:
El día 31 a las 6:00 p.m. se entronizará la imagen de San Martín de Porres y se celebrará una Misa en la Basílica del Santísimo Rosario.
El 3 de noviembre, día de la fiesta del santo, se celebrará una Eucaristía en el convento a las 7:00 p.m.
El 4 de noviembre se premiará a las 6:00 p.m. a los ganadores del Concurso de Pintura Rápida dedicado a San Martín de Porres, que se realizará el 29 de octubre en el claustro del convento.
El 9 de noviembre a las 8:00 p.m. se celebra un cóctel benéfico titulado “Pan y Vino” que ha sido organizado por la Casa San Martín de Porres, una institución que atiende a los ancianos pobres. Los interesados en participar en la cena pueden escribir al correo casadesanmartindeporres@gmail.com.
El 10 de noviembre a las 8:00 p.m. el Nuncio Apostólico en el Perú, Mons. Nicola Girasoli, inaugurará en el convento de Santo Domingo una nueva capilla dedicada a Santa Rosa de Lima, que fue amiga de San Martín de Porres. Ese día también comenzará en la basílica el rezo de una novena al santo que terminará el 18 de ese mes.
El 12 de noviembre se celebrará a las 9:00 a.m. una Misa de Romería en el cementerio “El Ángel” en memoria de todos los miembros fallecidos de la Hermandad de Caballeros de San Martín de Porres y San Juan Macías O.P (Orden de Predicadores).
A la 1:00 p.m. en el atrio de la basílica miembros de la Asociación de Peluqueros y Estilistas cortarán el cabello gratis a quienes lo deseen y a las 3:00 p.m. los niños que pertenecen a la Hermandad de Caballeros de San Martín de Porres y San Juan Macías O.P realizarán una procesión por las calles cercanas al convento.
El 19 de noviembre a las 7:00 a.m. el Obispo Auxiliar de Lima, Mons. Adriano Tomasi, presidirá una Eucaristía en la basílica y una procesión con la imagen de San Martín de Porres por las calles del centro histórico de Lima.
El 25 de noviembre a la 1:30 p.m. en el atrio del convento se brindará atención médica gratuita. Al día siguiente habrá una campaña gratuita de atención veterinaria a la misma hora.
El 8 de diciembre se realizará a las 8:00 p.m. una “Serenata a San Martín de Porres” y al día siguiente los dominicos celebrarán una Misa Solemne por el aniversario del nacimiento del santo y como cierre de los 40 días de festejos.
En los días 31 de octubre y 4, 11,18 y 25 de noviembre se realizarán por la noche conciertos gratuitos y los dominicos han pedido que las personas traigan víveres que se destinarán a la Casa San Martín de Porres.
Además, durante ese periodo de tiempo, se instalará un muro de peticiones en el atrio de la Basílica del Santísimo Rosario.
Just a little bit of silliness, since there hasn't been much in my pictures lately.
I love having no humility.
This is was happens when my brother and I are allowed to go shopping...
Sicily is a beautiful place. Or can be. One could probably understand that a photographer would be excited to be there, as I certainly was. This trip was ultimately a lesson for me. I took a relatively untested camera to a land of beautifully contrasty skies, brilliant vistas, and Roman temples, only to learn that the spring on the camera's take-up spool was apparently sprung and not keeping the exposed film rolled tightly. I then stubbornly lost most of four more rolls of film.
Now, I know perfectly well to only use tried-and-true equipment when it really matters, because I've learned that particular lesson before. Thus, the lesson for me was one of humility. So, with all humility, here is some of what I managed to salvage.
* Fujica G690 *
* Fujinon S 100mm F3.5 *
* Red filter *
* Rollei Retro 80S *
* Developed in Kodak TMax *
* Epson V500 scanner *
* Photoshop CS6 *
This humility before God is basic to all our relationships in life. We cannot begin to experience humility in any other relationship until we experience a deep and profound humility in our attitude toward God. When we are conscious of our (sinful) creature relationship to an infinitely majestic and holy God, we will not wish to selfishly compare ourselves with others. And to the extent that our awareness of our lowly place before God is an abiding one, we will avoid the temptations of pride and competition.
Jerry Bridges, The Practice of Godliness (Colorado Springs, CO: Navpress, 1983), 75.
"Humility has as its object to eliminate that which is imaginary in spiritual progress. There is no harm in thinking ourselves far less advanced than we are: the light is in no way decreased thereby for its source is not in opinion. There is great harm in thinking ourselves more advanced, because then opinion has an effect."
~ Simone Weil
Gravity and Grace
*********************
I find in regards to 'myself' that this approach presents more
positive possibilities in life... too many humiliations have brought me to this.
Our Daily Challenge
C'est Moi...
Through the illuminated voice of a child
Or a man
Or a woman
It may happen
Full throated and perfect
While every cell of the body stretches
Leaps high
Shakes every nerve awake
The Self
Wide-eyed and open
Feels At-One-Ment
With all humility
Ask That
Your heart may feel It:
This Joy
Once It finds you
Takes residence
When anxious thought flees
Back to a world of information
This Truth Song finds a heart to enter
And is at once at Home
© Ganga Fondan, 2012
- Humility contains in itself the answer to all the great problems of the life of the soul. It is the only key to faith, with which the spiritual life begins: for faith and humility are inseparable.
-Thomas Merton
/*************************************************************************/
In-between or a Gentle Parting
More beautiful than a face are you
Bargaining with time to seek a liturgy
Owned is your journey without invitation
Retreating, this monk slowly disappears
Following his heart an ancient song is heard
A journey such as this can take no friend
-Robert Cowlishaw
Even if you have defeated one, the mountain remains the greater one in the end.
Photo taken after climbing the Lärchenturm mountain (1967 m).
In all necessary humility I regard this photograph one of my best images ever. Maybe I love it so much because it conveys what I tend to call the "essence" of Wuppertal's Nordstadt quarter. The photo looks like a photomontage, but it is "real". The condensed effect has been created with a telephoto lens. The shot might give you an idea why so many film crews come to Wuppertal and choose the city as a movie location.
The early 15c south door "humility" entrance, believed to probably be the finest carved door in the county. It has Tudor roses, crockets and rich canopies. The Knowles shield is set between the emblems of St Luke and St John.
The South door is perpendicular and is probably the finest carved door in the county and one of the best in the whole country. It has tudor roses, crockets and rich canopies. The wicket is traceried and has signs of St Luke and St John. There are niches running from the sill of the door with mutilated figures of Saints and the Four Doctors of the Church (Gregory, Jerome, Ambrose, & Augustine). There is a lion at the bottom of the door and a stag at the East side.
www.ggmbenefice.uk/our-churches/harpley/harpley-church-hi...
See photos below showing closer details of the carved door.
Chris Rea passed away yesterday, the world losing a musician of immense talent and humility who shied away from the limelight, but nurtured a love for motor sport and the marque Ferrari. He also was to be found racing cars of character such as this Lotus VI which he entered for the Woodcote Trophy Race for Pre-'56 Sportscars at the 2012 Silverstone Classic. No mean performer behind the wheel, Friday's qualifying saw him struggling for grip on the soaking wet track and he must have been disappointed to find himself languishing near the back of the grid in 44th position. The weather fortunately improved over the weekend, and by Sunday a dry track beckoned. Leaving Jaguars, Aston Martins and Austin Healeys in his wake he clawed his way through the field to finish 22nd overall and 1st in class. He is sadly missed.
Coachwork by Vanden Plas
Chassis n° LM1342
Registration n° F8689
Les Grandes Marques du Monde au Grand Palais
Bonhams
Estimated : € 650.000 - 850.000
Sold for € 701.500
Parijs - Paris
Frankrijk - France
February 2018
- One of 513 Speed Models built
- Rare original aluminium body
- Full matching numbers
- Exceptionally original
- Well documented history
- Restored by Graham Moss
- Pebble Beach 2015 Class Award
With characteristic humility 'W O' was constantly amazed by the enthusiasm of later generations for the products of Bentley Motors Limited, and it is testimony to the soundness of his engineering design skills that so many of his products have survived. From the humblest of beginnings in a mews garage off Baker Street, London in 1919 the Bentley rapidly achieved fame as an exciting fast touring car, well able to compete with the best of European and American sports cars in the tough world of motor sport in the 1920s. Bentley's domination at Le Mans in 1924, 1927, 1928, 1929 and 1930 is legendary, and one can only admire the Herculean efforts of such giants as Woolf Barnato, Jack Dunfee, Tim Birkin and Sammy Davis, consistently wrestling the British Racing Green sports cars to victory.
W O Bentley proudly unveiled the new 3-litre car bearing his name on Stand 126 at the 1919 Olympia Motor Exhibition, the prototype engine having fired up for the first time just a few weeks earlier. Bentley's four-cylinder 'fixed head' engine incorporated a single overhead camshaft, four-valves per cylinder and a bore/stroke of 80x149mm. Twin ML magnetos provided the ignition and power was transmitted via a four-speed gearbox with right-hand change. The pressed-steel chassis started off with a wheelbase of 9' 9½" (the 'short standard') then adopted dimensions of 10' 10" ('standard long') in 1923, the shorter frame being reserved for the TT Replica and subsequent Speed Model. Rear wheel brakes only were employed up to 1924 when four-wheel Perrot-type brakes were introduced.
In only mildly developed form, this was the model that was to become a legend in motor racing history and which, with its leather-strapped bonnet, classical radiator design and British Racing Green livery, has become the archetypal Vintage sports car.
Early success in the 1922 Isle of Man Tourist Trophy, when Bentleys finished second, fourth, and fifth to take the Team Prize, led to the introduction of the TT Replica (later known as the Speed Model) on the existing 9' 9½" wheelbase, short standard chassis. Identified by the Red Label on its radiator, the Speed Model differed by having twin SU 'sloper' carburettors, a higher compression ratio, different camshaft and the close-ratio A-type gearbox, the latter being standard equipment prior to 1927 when the C-type 'box was adopted. These engine changes increased maximum power from the standard 70 to 80bhp and raised top speed to an impressive 90mph. Other enhancements included the larger (11-gallon) fuel tank and (usually) André Hartford shock absorbers. Bentley made 1,613 3-Litre models, the majority of which was bodied by Vanden Plas with either open tourer or saloon coachwork, 513 of which were to Speed Model specification.
Vanden Plas had been founded in Belgium in the 19th Century, gaining a British offshoot when Warwick Wright obtained the UK rights to the name in 1913. After an uncertain start and numerous changes of ownership, the British firm went on to forge its not inconsiderable reputation by a most fortuitous alliance with Bentley, bodying some 700-or-so of the latter's chassis during the 1920s, including the Le Mans team cars.
A 1927-specification Speed Model on the 9' 9½" wheelbase chassis, 'LM1342' is a late example and thus represents the best and most sought-after 3-Litre variant, having the 'big sump' engine with its stronger crankshaft, two-bolt direct-metal con-rods, and Duralumin rockers in separate boxes. Numbered 'LM1348SS', the engine is original to the chassis and would have been built with the Speed Model's high-compression pistons, BM1800 camshaft, and drilled valve caps. When new, these 'SS' engines were said to produce around 86bhp.
'LM1342' was bodied by Vanden Plas with its standard open four-seater sports coachwork (body number '1306', still fitted). This particular body is unusual in being panelled in aluminium (most were fabric-covered), and has an unusually low windscreen (around 1" shorter than normal) giving it more pleasing proportions. The car was ordered new by Gilbert & Sons Ltd of Pelham Street, Lincoln, and given a Lincolnshire registration, 'FE 8689', which it carries to this day. Subsequent owners listed in the Service Record are A C Scott (1928), A Staveley Hill (1929), Major G E L Pardington (1930), and J Shakespeare (1936). The Service Record is continuous through to December 1936, with only minor works carried out (no replacement of major components or accident repairs).
Correspondence on file indicates that by 1945 the Bentley was owned by a Captain M E Webbe, while an old-style continuation logbook lists two subsequent owners: Thomas Walker (from June 1946) and Frank Wood, who purchased the Bentley in January 1967 from a local farmer who wanted to buy a new Ford. There is a charming photograph in the file depicting Mr Wood's two daughters sitting in the car. After Frank Wood's passing, the family offered the Bentley for sale at a UK auction in March 2012 where it was purchased by the present owner.
The Bentley was then despatched to renowned marque specialist Graham Moss for total restoration with no expense spared. Examination revealed the 3-Litre to be exceptionally original - unlike so many of its ilk - retaining the original Supersports engine, A-type gearbox, front axle, steering box, differential casing, the correct number, 'LM1342', being found stamped on all of these components. Graham went to extraordinary lengths to maintain authenticity, even going so far as to reproduce the lead seals for the steering box, magneto turret, and crankcase; these were routinely fitted by Bentley Motors and removing them would void the guarantee.
As the car had been re-upholstered, the owner researched the original colour scheme and leatherwork, enabling the original manufacturer – Connolly – to reproduce the correct material. Many more such instances of this admirably fastidious approach are detailed in the vendor's wonderful illustrated book documenting the history and restoration of 'LM1342'. The car also comes with a copy of Bentley authority Dr Clare Hay's typically thorough - and very favourable - illustrated report on its specification, originality, and 'as purchased' condition, concluding: 'Overall this is a very original chassis with few minor changes from new, with all its original numbered parts and with its original Vanden Plas sports four-seater body'. Perusal of both is highly recommended.
In addition, the car comes with an original owner's instruction manual, a selection of accessory manuals, and a full set of genuine 3-Litre tools. There is also a letter from the first owner, and even a (replica) list of 'Don'ts', which would be hung on the starter switch to help new Bentley owners care for their cars correctly!
The extensive restoration works, carried out over a period of three years, are detailed by Graham's bills totalling some £475,000, while a further £25,000 was spent on obtaining correct parts such as the lights, correct magnetos, etc. Since completion, 'FE 8689' has covered around 2,000 miles and is fully sorted, having recently been serviced by Graham Moss.
Nobody seeing this magnificent Bentley today would question that the cost of its restoration was money well spent. Indeed, if proof were needed, in 2015 'LM1342' received a richly deserved 2nd-in-class award at the prestigious Pebble Beach Concours d'Élégance. There can be no better way to enjoy the many celebrations planned for Bentley's 100th anniversary in 2019.
"The Lord is a judge who is no respecter of personages.
He shows no respect of personages to the detriment of a poor man,
he listens to the plea of the injured party.
He does not ignore the orphan’s supplication,
nor the widow’s as she pours out her story.
The man who with his whole heart serves God will be accepted, his petitions will carry to the clouds.
The humble man’s prayer pierces the clouds, until it arrives he is inconsolable,
And the Lord will not be slow, nor will he be dilatory on their behalf."
– Ecclesiasticus 35:12-14, 16-19, which is today's First Reading at Mass.
Stained glass in the nave of the National Cathedral in Washington DC.
"He has told you, O man, what is good;
and what does the Lord require of you
but to do justice, and to love kindness,
and to walk humbly with your God?"
Micah 6:8 ESV
Thank you for your comments and faves – they are greatly appreciated!
Select photos from my Flickr stream are available for purchase as prints or personal download at [www.winterfirephotographicarts.com].
"Humor and humility were essential aspects of Norman Rockwell's character, so when asked to do a self-portrait that would announce the first of eight excerpts of his 1960 autobiography, 'My Adventures as an Illustrator,' the result was lighthearted and self-deprecating." - from the museum label
Last week they put up a Christmas tree at work in the cafeteria and I went to see it and I was very happy to see it. It did not say anything about Jesus Christ, nor did it have any Bible verses but I was still very happy to see it. On the weekend I was driving alone and I turned the radio to a Christian radio station (Joy 1250 AM) and a pastor with an African accent was preaching. He was not saying anything “deep” spiritually as some of us would define “deep”. He was not going to the original meaning of the words in Greek, or giving the historical background of the biblical story, or giving different meaning to the verses, etc. He was simply saying in a very gentle voice to be courageous, to be joyful, to do not fear or worry. And I was very happy to hear that message.
Both incidents surprised me because these incidents would not have made me happy about 8 years ago. About 8 years ago I was very legalist in my understanding of Christianity. I had hard time enjoying things because I always saw the negative side of things, always complained, always judged, and always criticized. If I saw a Christmas tree I would moan about why it did not show the nativity scene, or why did not some people say “Merry Christmas”. If I heard such a simple (yet powerful) message by a pastor I would moan about it being shallow! It is good to be zealous for God, but with what attitude are we being zealous for Him? Is it motivated by love for God or ignorance of God’s love? (Do we realize God’s love is patient and gentle?) Is it motivated by love for others or controlling others? Is it motivated by patience and gentleness or anger and self-righteousness?
Eight years later I am starting to realize spiritual maturity in Christ is about being gentle, understanding, not judgemental, patient, caring, and above all loving toward people especially the children of God. There is no excuse for judging a man of God who is preaching the Word of God just because we do not like his “style”. (I am not talking about someone who is teaching false teachings.) Spiritual maturity is not about knowing the Bible in Greek or forcing people to say “Merry Christmas” but to be Christ-like. Isaiah 40:11 says about our Saviour:
“He tends his flock like a shepherd:
He gathers the lambs in his arms
and carries them close to his heart;
he gently leads those that have young.”
----------------------------------------------------
I remember one man from my aunt’s church complaining about all denominations others than his. So my aunt told him, “Well, you are going to hate heaven because all those people you don’t like are going to be there because they are saved too!” That answer kept him quiet.
(Toronto, ON; winter 2012.)
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
steigiotto, kostybit und 6 weitere haben das als Favorite