View allAll Photos Tagged Humility
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.
Where are you going? Wait! Don’t you see how beautiful I am?! WHAT? That the true beauty is hidden inside? …
Don’t go away - PLEASE - stay here for a while with me.
I … I will learn a humility …
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My author crochet brooch:-)
Please, respect copyright - thank you:-)
Like you, I have heard the term "blended family" in recent years,
with all of us knowing precisely what it means and implies, but I must say, with all humility, that yours truly invented the phenomenon, albeit without an official term, some 45 years ago. Circa 1975 or '76, I assembled this collection of dolls and puppets from friends and associates of mine to make this formal portrait of a very diverse group of unique characters, and made
it with only living room window light and a huge white fill-card on the opposite side of the group.
For the record, I had a lesser version of this photo in my photo-stream back in year one or year two, but the version has been
considerably improved with the advent of all manner of post-production software since 2012 or '13. As such, I offer up this new, improved product, much like the latest iteration of wrinkle-
reducing skin cream, but at no expense to the viewer and, thus,
with no chance whatsoever of your being ripped-off.
This original image here was recorded on Kodachrome transparency film, probably Kodachrome 25 or 64, and then saved to a digital file by some expert digital transformationalists operating out of Idaho, back about 10 years ago. Credit must be given to those folks who operate behind the scenes, yet are
very important cogs in the wheel of photographic creativity.
Thank you gents, whatever your company name was. I am 73 years old now, and have earned the right to forget it. No disrespect intended.
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.
SHAME Definition: A painful feeling of humiliation or distress caused by the consciousness of wrong or foolish behavior.
For one that truly feels shame, humility, and emptiness inside from their own poor wronging actions, the feeling around you is a dark lonely sick feeling... a sense of internal cold chills flushing through you. Like you are exposed and standing alone in a cold damp misty darknesses of an erie forest. A place you really wished you were not surrounded by but one you know you fully deserve for whatever pain you inflicted on another / others. Children tend to more purely express all emotions - including shame. But you see these signs in many adults that truly feel shame.
Shame has the reputation of being a clearly negative emotion - one that most of us would immediately label as a "BAD" "Unhealthy" emotion. But when one takes a moment to ponder, Shame - if its a true emotion and not an act to fool others - is a very good and healthy emotion. For it is a person that can feel the deepest pains and feelings of shame that you should know has flaws but also has inside him/her a core value of morality somewhere inside. Be fearful and stay clear from any human that cannot truly understand nor feel the pains of SHAME - for these are people that can easily step across the clear lines/borders of cultural moralities and execute some of the sickest act of pain upon fellow humanity.
So how does one artistically express these feelings of shame? Well, for me I believe it can often be seen in many ways - be it a child or an adult. The head hung down in almost an unconcious attempt to hide ones face from public and to want to crawl into obscurity. The eyeslids partly closed - eyes looking even further down to ensure no direct eye contact is possible. Mouth neutral expression or sad - almost as if one is mixed between sad and puzzlement. As if you can see this person arguing and scolding him/herself by replaying the pain inflicted and asking oneself "why would I have done this??".
When I looked at a small cheap plastic garden statue that has stood in our garden for several year from just the right angle, I saw this exact set of SHAME symbols in her. I took photos of her from the angle that would provide this shame effect the strongest. Then cropped out the rest of her body that would destroy this "shame" emotion. Next I cropped her from the background and applied background layers of one of my Secondlife forest landscapes and real life clouds to create this damp cold dark scary forest scene she stood within.
I then used 3 layers of the girl ontop of herself to give me the darkness and shadows in her face I wanted. Finally I applied a mix of my own personal stock textures and a couple of the amazing textures I so love from Pareeerica (credits below) to further enhance the "sick" greens and "acidic" yellows (like the bile one thinks of when they feel queezy inside from doing wrong).
I hope my artistic expressions of SHAME has come across to all of you.
CREDITS & PERMISSION:
Real Photo of "garden girl" ornament is my own photo: toysoldierthor.deviantart.com/art/Garden-Girl-Raw-210859301
Real Photo Clouds & crackled glass are my own private stock photos
PAREEERICA texture - Touch of LAce 2: www.flickr.com/photos/8078381@N03/2799028367/
PAREEERICA texture - FireWalker: www.flickr.com/photos/8078381@N03/3861893046/
Toysoldier Thor
"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].
"'I am the handmaid of the Lord,’ said Mary ‘let what you have said be done to me.’" (Luke 1:38).
Today, 20 December, the Church's liturgy recalls the humility of the Virgin Mary and the annunciation of Christ's miraculous conception in her immaculate womb.
This mosaic and opus sectile image is from the sanctuary of the church of St Martin in the Fields in London.
"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.”
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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.)
Rolleiflex 3.5F using Rolleinar 3, natural light from a nearby window.
Fuji 400 ASA
Got the idea for this shot while watching one of my all time favorite movies, 'The Nun Story' with Audrey Hepburn…turned out just the way I wanted.
The actual nun figure is only about 3.5 cm tall folded from two pieces of paper…
Church of the Nativity is a Chrisitan holy site, marking the birthplace of Jesus. Built in 530AD, it is one of the oldest surviving Christian churches.
The Door of Humility is a small rectangular entrance to the church, created in Ottoman times to prevent looters driving their carts inside and to force visitors to dismount from their horses before entering this holy place.
The pointed arch of an earlier Crusader doorway can still be seen above the current door. The outline of the original square entrance can also be seen above these two smaller doors.
The Door of Humility, Church of the Nativity, Bethlehem, West Bank, Israel (Saturday 27 November 2010 @ 2:50pm).
Bluebells has long been symbolic of humility and gratitude. They are associated with constancy, gratitude and everlasting love. Bluebells are also closely linked to the realm of fairies and are sometimes referred to as "fairy thimbles." To call fairies to a convention, the bluebells would be rung. Bluebells are widely known as harebells in Scotland. The name originated due to the hares that frequented the fields covered with harebells. Some sources claim that witches turned themselves into hares to hide among the flowers.
Another name for bluebells is Dead Man's bells. This is due to the fact that fairies were believed to cast spells on those who dare to pick or damage the beautiful, delicate flowers. The people of Scotland are fond enough of the flower to continue this tradition in the hopes of protecting the little flower.
A favourite flower around the world for many centuries, the bluebell is a particularly beloved flower in Britain.
Hiding ourselves can be hard to resist, but taking joy in living should be our best cosmetic. Is it yours?
"Life is a long lesson in humility."
//J.M. Barrie
"Humility, that low, sweet root
From which all heavenly virtues shoot."
//Thomas Moore
"Humility provides everyone, even him who despairs in solitude, with the strongest relationship to his fellow man, and this immediately, though, of course, only in the case of complete and permanent humility."
//Franz Kafka
Hope you love this visionary quote on humility by Charles Caleb Colton. Also, you can check out a list of brilliantly outstanding premium resources for happiness here: goo.gl/Pj88bL
Date: February 2014
Medium: Digital Photomontage
Dimensions: w 36" x h 26"
© 2014 Tony DeVarco
Credits: "Ruth", a 1853 marble sculpture by Chauncey Bradley Ives (1810-1894). Photographed at The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California.
The Door of humility - at the Church of the Nativity in Bethlehem,
one of the oldest continuously operating churches in the world...
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, 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
From September 2009 to 2014, Matthias Hartmann was 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 .
Since 2014, Karin Bergmann is the commander in chief.
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had two shoots to do on the Rise Records Tour, one for Memphis May Fire, and Decoder. but i took candid shots all day, and for once im gonna share those.
either design fail, or on purpose still quite a sight to see
view ORIGINAL size for best quality
natural light
5d mrk ii
50mm f1.4 usm
_________________________________________________________________
ALL IMAGES ©OPYWRITTEN BY Evan Dell Photography NONE ARE TO BE USED/POSTED/DUPLICATED ETC. WITHOUT OUR PERMISSION
Season's Greetings to all who chance upon this!
May all of us, of whatever Belief, put bigotry and righteousness aside and unite in humility before the wonder of Creation!
Small wooden figures, finely handcrafted by Peter Staffler, a carver who was born and trained in Gröden (South-Tyrol ), but worked in Vienna.
(For best effect view "large" (L) on full screen...)
This coneflower plant was added to my beach garden this summer. It blooms among a couple varieties of white daises, Russian sage, lavender, white petunia, white pansy, white lobelia, dusty miller and mounts of blue fescue. I love this white section of plantings against the aged cedar shingle siding of my cottage. It's all so beachy.
I arrived this week to find my white garden browning on the edges and preparing for winter. I was touched by their graceful and elegant bearing. Such poise and humility they possessed in their imperfection. There was a message for me in the observation!
True humility accepts both our dignity and our depravity in the same breath. We are never either/or we are always both/and!
I hope that if you, like me, have blown it lately or felt that you've missed the mark more than you've hit it, that you would not be too hard on yourself...that you would have the grace to accept that you are human...beautifully and wonderfully human!
I can't let my present victories lie to me about my pending failures!
Sorry for the sermon...rest assured, I won't take an offering!!!
Love you guys!
Name: Toya Dominique LaJax
Hometown: La Puente, California
Likes: Genuine people, humility, music, cosmetics, and tacos.
Dislikes: Fame-whores, cockiness, political incorrectness, and bigots.
Why I Should Be Picked For BFF 5: "I want to be a part of #BFF5 because I feel that Maxine and I would vibe really well. I used to be a member of a popular teen-pop group with my six other siblings called LaJax7, but we disbanded in 2009 due to creative differences and our record label folding. I had become too old to maintain relevance in the limelight. I started gaining weight and turned to reality television to escape my own reality. Ever since I started watching BFF, I knew that I would have an instant connection with Maxine if I was ever on the show and dreamed of one day being on it. I decided two years ago to create a better version of myself and try to fulfill my dream of becoming one of Maxine's friends. Plus, I want to add diversity in a room full of bleach-blonde suck ups."
Faceclaim: Vanessa Morgan
Indy: ... I'm sure as hell gonna yank it back... ow! My head! That voice! Where the heck… and how...?
Colt: Looks like we're right back where we started, old pal.
Indy: What… the Amazon?
Colt: Close to our old camp, even. Remember the night we got buzzed by those lights?
Indy: I'm still trying to convince myself that was just the whirlybird coming in a little too low.
Ericksson: That was no helicopter. I've seen those lights, up north. They are not of this Earth. Or at least, not from the surface of this Earth.
Colt: Our Nazi friends, you think? Or…?
Indy: If this is our camp, the cave should be close by. You think those beers are still there?
Colt: Unless the monkeys have bottle openers.
Indy: Good. There's no way a sober brain is gonna make any sense out of all this.
_ _ _ _ _
Later, outside the cave
_ _ _ _ _
Ericksson: The Nazi renegades are real. The agency has monitored their transmissions for some time. Several U-Boats remain unaccounted for, and are believed to be supplying Ahnenerbe operations in the Antarctic.
Indy: With Enigma deciphered, it should be easy enough to… .
Ericksson: They're using a new code. It's a simple scrambling cypher, but since hostilities ended… .
Colt: Okay, got it. Nazis, calling themselves Knights of October, check. How about the Russians?
Ericksson: Bah! Stalinists and their Asian comrades -- no longer of any significance.
Indy: no longer breathing, you mean.
Ericksson: Desperate times, desperate measures, as they say.
Colt: But they are, or were, real, at any rate. 'Kay, Russians, check… and checked out.
Ericksson: Now about your 'Major Schreck.'
Colt: I can't say. I never saw the man. Or the girl. Lover-boy here says… .
Indy: The ache in my jaw and this d@mn-near busted back tell me Shreck and company are as solid as they come. But… but… there's something… about appearances… .
Ericksson: Remember the words of Si'ilith. The Shoggoth have tampered with your memories.
Colt: Who, or what, is this Silly Ath you keep mumbling about?
Ericksson: Si'ilith, of the K'n-Yan.
Indy: Four-hundred years ago the Spaniard Zamacoma claimed to have discovered an underground realm, K'n-Yan, near present day… .
Colt: So this Kinyon is another name for, what is it, Agatha… something…?
Ericksson: No! NO! Absolutely not! The Shoggoth of Agartha are evil! Foul, vile, corrupt beyond redemption! Unclean! UNCLEAN!!!
Colt: Red, Red! Get a grip, man! Either you need another beer, or it was a big mistake giving you the first one!
Ericksson: Do not mock what you do not understand, Colt, or you will surely die in an agony beyond description; your soul will suffer as… .
Colt: okay, okay, I got it! Agartha, bad underground guys. Kin Yahn, good underground guys. Who… uh… just happen to speak to you in dreams.
Ericksson: You will learn humility, Charlie Colt. You will learn.
Indy: I hope he survives a little while longer, Red; ya gotta respect a guy who manages to stash a case of beer in a cave in the middle of the Amazon basin.
Ericksson: As Si'ilith says, 'our comrades have the skills we will need.'
Colt: We have skills, we have beer; now all we need is a plan.
Indy: That would be, a plan to stop the Nazis, and some former Nazis, and maybe a few Russians and Imperial Japanese, from finding an underground city full of shape-shifting lizard-men armed to the teeth with advanced weaponry and an unstoppable energy source.
Jock: I dunno 'bout you all, but sounds to me like we oughtta sleep on it afore makin' any plans.
Colt: Sounds to me like we oughtta drink on it!
Indy: I'll drink to that!
Ericksson: Kippis!
- - - - - - -
A quiet sunset. No loud colors, no day that ends with a bang. Maybe more of a sigh.
I met a man this evening. I still don't know his name. But I do know, I took one look at the beer in his hand, his cut off dripping shorts, the late model car with cracked tail lights and held together with plastic where the rust had removed the rest, and I judged. And I was angry. I had come looking for solitude and it wouldn't be found here.
But then he spoke. And he shared with me the joy he had in coming out to this spot when he wasn't working, just to watch the sun set. And to play with the dog he found abandoned along the road. She liked swimming. And he liked pleasing her. And as he spoke, he walked around the small area of the shore, gathering the trash of others and carrying it to a barrel; close, but too far for some.
I found myself embarrassed in my own judgment. In my own self absorption. And in my own busy-ness; forgetting to enjoy the reason I was here, worried instead by the mechanics.
And so I left with a pretty view, but a much better lesson. And I drove away humbled.
31/52 - The Big Five Two