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#Barat #Event #Jati #Umra #Farm #house #Beautiful #Couple #Selfie #Props
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PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.DClassyclicks.com , Facebook:- www.facebook.com/a2zevents #Bridal_Shower #Bride_To_be #Brides_maid #Bride #Bride_sash #Mother_of_Bride #mehndi #mehndi_event, #C_stage #flower_decor #mehndi_stage #mehndi_decoration #decorators #stage_decoration #enterance_decoration #stage_design #vipstage #wedding_planner_in_lahore #wedding #wedding_planning #events_planner #events_organizer #events_designer #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #events_planner_in_pakistan #events_designer_in_pakistan #birthday_parties #corporate_events_stages_setup #mehndi_setup #barat_setup #barat_event_setup #mehndi_stage_decoration #barat_stage_decoration #best_event_planners_in_lahore #event_organizer_in_lahore #event_planners_in_pakistan #walima_setup #mehndi_event_setup #walima_event_setup #wedding_events_planner #wedding_events_organizer #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway
Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower's famous moat over the summer. Each poppy represents a British military fatality during the war.
The poppies will encircle the iconic landmark, creating not only a spectacular display visible from all around the Tower but also a location for personal reflection. The scale of the installation intends to reflect the magnitude of such an important centenary creating a powerful visual commemoration.
We are hoping to sell all of the poppies that make up the installation and, in doing so, raise millions of pounds which will be shared equally amongst six service charities.
Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.
His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.
In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.
Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.
Needing a break from a puzzle I am currently working on ( stuck in the dreaded large dark tree area) I have just done this one. I have had it for several years now and it is probably my favourite of the Circular Springboks. "An art nouveau study of ladies' hats through the ages"
The artist Loudon Sainthill (1918-1969) who was Australian born, was" England's finest and one of the world's foremost stage designers"
His stage designs include, 1950 for Sir Robert Helpmann and Dame Margot Fonteyn's Ile de Sirenes and 1951 for Michael Benthall's The Tempest at The Shakespeare Theatre Stratford-on-Avon.
New #Barat #Stage with #backside #Entry for #BRIDE
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Kenninghall is a village and parish in Norfolk.
It is claimed that the name Kenninghall comes from the Saxon words for king, 'Cyning', and palace, 'Halla', but another option has it deriving from the personal name 'Cyna' and the Old English 'hala', a clearing in the woods
Home to the kings of East Anglia, after the Norman invasion of 1066, William the Conqueror granted the estate to William of Albany and his heirs as a residence for the Chief Butler of England.
In the reign of Henry VIII, the estate was granted to Thomas Howard, 2nd. Duke of Norfolk, who abandoned the ruins of older structures within an ancient moat and erected a new East Hall to the north of the Saxon site.
The estate passed to Thomas Howard, 3rd. Duke of Norfolk in 1524. The third Duke spent lavishly to build an entirely new, unfortified, palace of more than 70 rooms, richly furnished with tapestries and thousands of ounces of silver and gilt plate. The house, in the form of an 'H' had three main stories and, in addition to suites of rooms for Norfolk and his extended family, featured a two story Great Hall, a formal dining chamber, a wainscoted chapel with two organs, and an indoor tennis court, probably similar to that at Hampton Court. The estate was confiscated by the Crown when he was arrested on suspicion of treason.
Kenninghall was inventoried by Sir John Gates, Sir Richard Southwell and Wymond Carewe in mid-December 1546, eventually resulting in three documents detailing the house and its contents, now preserved in the National Archives at Kew.
The house served as a residence for both of Henry VIII's daughters, Princess Mary and Princess Elizabeth, at different times during the reign of Edward VI. When Mary became Queen in 1553, she granted the estate to the 3rd. Duke's grandson, Thomas Howard, 4th. Duke of Norfolk.
The 4th. Duke held the estate until 1572, when he was attainted for high treason. Howard had been brought up a Protestant, but entered Roman Catholic plots, including the Northern Rebellion and the Ridolfi Plot, to depose Elizabeth I and replace her with Mary, Queen of Scots, whom he planned to marry. The estate was seized by the Crown, and Queen Elizabeth often resided here. When she died in 1603, the house was demolished and the materials sold off.
A two story fragment, probably remains of the 2nd. Duke’s work, still stands close to the Saxon moat, but nothing of the 3rd. Duke’s palace survives.
Between 1727 and 1760, George II issued a charter declaring the inhabitants of Kenninghall exempt from serving in juries outside the parish, and from tolls at fairs across the kingdom.
The wrought iron village sign was a gift from the Women's Institute in 1972. It was designed by a former stage designer, Mr. P. MacNamara of Quidenham, and made by Eric Stevenson of Wroxham.
The sign consists of four crests, and a cat and horse which are partially hidden in the backdrop of trees.
On the apex of the sign is a representation of the ‘Kenninghall brooch’, a type of ornamental cloak fastener, one of which was found in the Anglo-Saxon burial ground excavated in 1869 near to where the sign stands.
Below the name is the crown and coat of arms of King Edward, The Confessor, to whom Kenninghall belonged as a royal manor. The two shields below are, left, the coat of arms of the Howards, Dukes of Norfolk, and right, the Earl of Mowbray. The fourth shield belongs to the Earl of Albermarle who also had a connection with Kenninghall.
Transparent and opaque watercolor.
Arthur Szyk was a graphic artist, book illustrator, stage designer and caricaturist. He was born into a Jewish family in Łódź, in the part of Poland which was under Russian rule in the 19th century. He always regarded himself both as a Pole and a Jew. From 1921, he lived and created his works mainly in France and Poland, and in 1937 he moved to the United Kingdom. In 1940 he settled permanently in the United States, where he was granted American citizenship in 1948.
Arthur Szyk became a renowned graphic artist and book illustrator as early as the interwar period – his works were exhibited and published not only in Poland, but also in France, the United Kingdom, Israel, and the United States. However, he gained real popularity through his war caricatures, in which, after the outbreak of World War II, he depicted the leaders of the Axis powers – mainly Adolf Hitler, Benito Mussolini and Emperor Hirohito. After the war, he also devoted himself to political issues, this time supporting the creation of Israel.
Szyk's work is characterized in its material content by social and political commitment, and in its formal aspect by its rejection of modernism and drawing on the traditions of medieval and renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the coloristic effects and details in his works.
Today, Szyk is a well-known and often exhibited artist only in his last home country – the United States. In Europe, since the late 1990s exhibitions of his art has been mounted in the Polish cities of Kraków, Warsaw, and Łódź as well as in Berlin, Germany. The recent publication of a Polish-language edition Szyk's biography and public broadcasts of the documentary film "Arthur Szyk - Illuminator" (Marta Tv & Film, Telewizja Polska (Łódź), 2005) also have improved Szyk's stature in his mother country, Poland.
Ink and graphite on paper. Published cover for Time magazine, Dec. 22, 1941.
Arthur Szyk was a graphic artist, book illustrator, stage designer and caricaturist. He was born into a Jewish family in Łódź, in the part of Poland which was under Russian rule in the 19th century. He always regarded himself both as a Pole and a Jew. From 1921, he lived and created his works mainly in France and Poland, and in 1937 he moved to the United Kingdom. In 1940 he settled permanently in the United States, where he was granted American citizenship in 1948.
Arthur Szyk became a renowned graphic artist and book illustrator as early as the interwar period – his works were exhibited and published not only in Poland, but also in France, the United Kingdom, Israel, and the United States. However, he gained real popularity through his war caricatures, in which, after the outbreak of World War II, he depicted the leaders of the Axis powers – mainly Adolf Hitler, Benito Mussolini and Emperor Hirohito. After the war, he also devoted himself to political issues, this time supporting the creation of Israel.
Szyk's work is characterized in its material content by social and political commitment, and in its formal aspect by its rejection of modernism and drawing on the traditions of medieval and renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the coloristic effects and details in his works.
Today, Szyk is a well-known and often exhibited artist only in his last home country – the United States. In Europe, since the late 1990s exhibitions of his art has been mounted in the Polish cities of Kraków, Warsaw, and Łódź as well as in Berlin, Germany. The recent publication of a Polish-language edition Szyk's biography and public broadcasts of the documentary film "Arthur Szyk - Illuminator" (Marta Tv & Film, Telewizja Polska (Łódź), 2005) also have improved Szyk's stature in his mother country, Poland.
Festival de wereld van Witte de With, Rotterdam 2010
De Tiller Girls zijn terug! Dit dansgezelschap maakte begin 20e eeuw internationaal furore met hun spectaculaire en gewaagde ‘Chorus-line dance’. De dans hypnotiseerde haar toeschouwers door de uiterst strakke choreografie waarbij de rij sexy benen eindeloos hoog de lucht in gaat. Honderd jaar na dato presenteert V2_ tijdens De Wereld van Witte de With een dansvoorstelling van kunstenaar Louis-Philippe Demers geïnspireerd op dit uniek stukje dansgeschiedenis. In Demers’ wervelende show zijn de Tiller Girls vervangen door twaalf robots die een Chorus-line dance uitvoeren. Haal de smokings en de avondjurken uit de kast want zoiets heeft u nog nooit gezien!
Don't miss it – the Tiller Girls are back! This famous dance troupe caused an international sensation at the beginning of the 20th century with its spectacular, daring chorus line dance. The dance has a hypnotic effect on viewers thanks to its extremely tight choreography, in which a line of sexy legs rises endlessly up, up, up into the air.
A century after the original Tiller Girls conquered the world, V2_ presents artist Louis-Philippe Demers’ performance inspired by this unique piece of dance history during De Wereld van Witte de With. In Demers’ sparkling show, the Tiller Girls will be replaced by a dozen robots who will perform the chorus line dance. The public is welcome to attend. Get out your tuxedos and evening dresses, because you've never seen anything like this!
Louis-Philippe Demers makes large-scale robotic environments and interactive media artworks. He was Professor at the HfG/ZKM and currently is at the Interaction and Entertainment Research Centre at the NTU (Singapore).
Philip Schulze is a media artist, composer and improviser. Schulze develops site-specific visual and auditory experiences and collaborative action spaces. He is responsible for Real-Time Audio Design.
Armin Purkrabek is a stage designer, researcher and media artist. Purkrabek develops futuristic scenographies thru digital/analogue art experiments. He is responsible for Real-Time Video/Lights Design.
Biografía
En julio de 1777, Clemens Wenzel de Sajonia, príncipe elector y arzobispo de Tréveris, visitó Viena. Era un pariente del duque Alberto de Sajonia-Teschen, yerno de María Teresa y marido de su hija favorita, Marie Christine. En honor de la visita de Tréveris Sajonia, el teatro de Marionetas del príncipe Esterházy dío un espectáculo que fue premiado de muchísimo aplauso. "Por está razón, en Schönbrunn fue construido un teatro y las marionetas y decoraciones llevados a Viena". Fue interpretado "Alceste", una parodia respecto de la ópera del mismo nombre de Christoph Willibald Gluck.
Basandose en está tradición, Christine Hierzer-Riedler y Werner Hierzer fundaron
EL TEATRO DE TÍTERES PALACIO DE SCHÖNBRUNN
Después de una generosa renovación del "tracto del consejo de la Corte" por el Palacio de Schönbrunn Empresa de cultura y de explotación, el teatro en 1994 pudo ser abierto. De está manera, en el tracto del consejo de la Corte por las reprecentaciones mágicas fue creado un ambiente perfecto.
El teatro de marionetas en Schönbrunn se administro como un teatro privado. Los dos fundadores y directores artísticos
Christine Hierzer-Riedler & Werner Hierzer
cuentan con más de 40 años de experiencia internacional en el arte del espectáculo de las marionetas. Entre los lugares destacados se incluyen ciudades como Atenas, Berlín, Boston, Bruselas, Florencia, Hong Kong, Londres, Los Ángeles, Madrid, Ciudad de México, Miami, Montreal, Nueva York, París, Pekín, Roma, Seúl, Teherán y muchos más.
Dos equipos bien entrenados permiten actuaciones de la más alta calidad, tanto en el teatro en Schönbrunn, así como en cualquier momento en sus giras internacionales.
Los títeres, los trajes, el decorado y la maquinaria escénica se producen en colaboración con destacados directores, escenógrafos y diseñadores de vestuario de teatro en los talleres internos.
Premios internacionales recompensan los esfuerzos para satisfacer los estándares más altos:
1er Premio, Festival Internacional de Teatro de Títeres, Teherán
1er Premio, Festival Mundial de la Marioneta Arte, Praga
1er Premio, Festival Internacional de Teatro PIF, Zagreb
Biography
It was July 1777 when Clemens Wenzel of Sachsen, Elector and Archbishop of Trier visited Vienna. He was a relative of Duke Albert of Sachsen-Teschen, Empress Maria Theresia’s son in law and husband of her favourite daughter Maria Christine. To honour this visit from Trier, the Marionette-Theatre of Prince Esterházy offered a spectacle which was much acclaimed by the visitors.
For this reason a theatre was built and the puppets and decoration were brought to Vienna. "Alceste" a parody of the original opera, written and composed by Christoph Willibald Gluck, was performed.
Following this tradition the
MARIONETTENTHEATER SCHLOSS SCHÖNBRUNN
was founded by Christine Hierzer-Riedler and Werner Hierzer.
After a generous renovation of the "Hofratstrakt" (court wing) by the Schönbrunner Kultur- und Betriebsges.m.b.H. the theatre was reopened in 1994 and forms now the perfect ambience of these enchanting shows.
The MARIONETTENTHEATER SCHLOSS SCHÖNBRUNN is a private theatre, the two founders and art directors Christine Hierzer-Riedler and Werner Hierzer are looking back on more than 40 years of international experience in performing with marionettes. They acted as puppeteers in New York, Hong Kong, Mexico City, Paris, London, Madrid, Rome, Berlin, Los Angeles, Miami, Brussels, Montreal, Boston, Peking and Seoul. In 1995 they set up a training centre for talented marionette-players in Schönbrunn to continue this tradition. There are shows of high quality throughout the year performed by two artistically skilled companies on stage at home in Schönbrunn and on tour in several countries.
With the support of famous directors and costume and stage designers the puppets, costumes, stage setting and stage techniques are all created at the theatre’s own workshops.
International awards honour the efforts to live up to the highest expectations:
1st prize, International Puppet Theatre Festival , Tehran,
1st prize, World Festival of Puppet Art, Prague,
1st prize, International Theatre Festival PIF, Zagreb
www.marionettentheater.at/theaterbiografie.html
Schloss Schönbrunn, erbaut 1695 - 1700 nach Plänen von Johann Bernhard Fischer von Erlach. Umgestaltet 1743 - 1749 unter Maria Theresia nach Plänen von Nikolaus von Pacassi.
1952 SCHWINN HORNET
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Antique Center of Red Bank
226 West Front Street, Red Bank, NJ 07701
Phone: (732) 842-4336
We pride ourselves as a family of dealers dedicated to providing those hard to find treasures, collectibles, jewelry and furnishings. The Red Bank Antique Center has been the destination for designers, collectors, movie & stage designers and dealers for over 40 years. The center was started in 1964 by the Johnson family as a permanent antique show with 12 dealers. Today it has grown to over 100 dealers in two building in the heart of the Red Bank Historical District located 1/2 mile from the shoreline of the Navesink River. Operated by Guy Johnson, we have grown to be the largest antique district in New Jersey.
#Gazal #night #Behria #Town Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
#Walima Behria #FarmHouse Follow us on Instagram @DclassyClicks and @a2zevents Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
#Walima #Event #Kharian #Cantt #DayEvent Follow us on Instagram @DclassyClicks and @a2zevents We are now taking bookings for July-17 to Apr-18 Please Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.DClassyclicks.com , Facebook:- www.facebook.com/a2zevents #DClassyClicks #DClassyClicksbya2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #hoteldecor #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
Barat Pasco Society
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1936 from the souvenir of Col. W. De Basil's Ballets Russes at Covent Garden 3rd season June to Sept.
Scenery by Picasso for "Pulcinella"
Pablo Ruiz Picasso [1881-1973] was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France.
Pulcinella is a one-act neoclassical ballet by Igor Stravinsky based on an 18th-century play Quartre Polichinelles semblables ("Four identical Pulcinellas"). Pulcinella is a stock character originating from commedia dell'arte.
The ballet premiered at the Paris Opera on 15th May 1920 under the baton of Ernest Ansermet. Léonide Massine created both the libretto and choreography, and Pablo Picasso designed the original costumes and sets. The ballet was commissioned by Sergei Diaghilev.
Costumes by J. W. Sert for "Cimarosina"
#Grand_Opening_Ceremony #Hayat #Familia #Molfix #Papia #PC_Hotel_Lahore
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#Walima Behria #FarmHouse Follow us on Instagram @DclassyClicks and @a2zevents Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
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Fabre studied at the Municipal Institute of Decorative Arts and the Royal Academy of Fine Arts in Antwerp.
He wrote his first scripts for the theatre between 1976 and 1980 and also did his first solo performances. During his 'money-performances', he burned money and wrote the word 'MONEY' with the ashes. In 1977, he renamed the street where he lived to "Jan Fabre Street" and fixed a commemorative plaque "Here lives and works Jan Fabre" to the house of his parents, analogous to the commemorative plate on the house of Vincent Van Gogh in the same street. In 1978 he made drawings with his own blood during the solo performance 'My body, my blood, my landscape'. From 1980, Fabre began his career as a stage director and stage designer. In 1986 he established the Troubleyn/Jan Fabre theatre company with extensive international operations; its home base is Antwerp, Belgium.
Fabre is most famous for his Bic-art (ballpoint drawings). In 1980, in 'The Bic-Art Room', he had himself locked up for three days and three nights in a white cube full of objects, drawing with blue "Bic" ballpoint pens as an alternative to "Big" art. In 1990 he covered an entire building with ballpoint drawings.
Fabre also explores relationships between drawing and sculpture and has made sculptures in bronze (among them The man who measures the clouds and Searching for Utopia) and with beetles. He decorated the ceiling of the Royal Palace in Brussels with one million six hundred thousand jewel-scarab wing cases for his work Heaven of Delight. In 2004 he erected Totem, a giant bug stuck on a 70-foot steel needle, on the Ladeuzeplein in Leuven.
In September 2016 Fabre made an attempt to not break cyclist Eddy Merckx's 1972 hour record at the Tête d'Or Velodrome in Lyon. Fabre completed a total of 23km in an hour, compared to Merckx's record of over 49km. Merckx, fellow cyclist Raymond Poulidor, and veteran cycling commentator Daniel Mangeas commentated the event, which was performed as the opening of his "Stigmata" retrospective exhibition organised by the Musée d'art contemporain de Lyon. Fabre described the attempt as "how to remain a dwarf in the land of giants"
V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
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“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
Vladimir Yevgrafovich Tatlin, Ukrainian painter, sculptor, and architect remembered for his visionary “Monument to the Third International” in Moscow, 1920.
Tatlin was educated at the Moscow Academy of Fine Arts, graduating in 1910. Late in 1913 he went to Paris, where he visited Pablo Picasso, whose reliefs in sheet iron, wood, and cardboard made a deep impression on him. Returning to Moscow, Tatlin created constructions that he called “painting reliefs,” which he exhibited at a Futurist exhibition held in Petrograd (now St. Petersburg) in February 1915. He became the leader of a group of Moscow artists who tried to apply engineering techniques to the construction of sculpture. This developed into a movement known as Constructivism.
This type of avant-garde art continued for a brief period after the Russian Revolution of 1917, during which time Tatlin created his most famous work—the “Monument to the Third International,” which was one of the first buildings conceived entirely in abstract terms. It was commissioned in 1919 by the department of fine arts and exhibited in the form of a model 22 feet (6.7 m) high at the exhibition of the VIII Congress of the Soviets in December 1920. A striking design, it consisted of a leaning spiral iron framework supporting a glass cylinder, a glass cone, and a glass cube, each of which could be rotated at different speeds. The monument’s interior would have contained halls for lectures, conferences, and other activities. The monument was to be the world’s tallest structure—more than 1,300 feet (396 m) tall—but it was never built owing to the Soviet government’s disapproval of non-figurative art.
About 1927 Tatlin began experimentation with a glider that resembled a giant insect. The glider, which he called Letatlin, never flew, but it engaged his interest throughout his later life. After 1933 he worked largely as a stage designer.
Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.
In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.
Blood Swept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat. Each poppy represents a British military fatality during the war.
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#Grand_Opening_Ceremony #Hayat #Familia #Molfix #Papia #PC_Hotel_Lahore
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Wednesday 10 July at 6pm and 8pm, Thursday 11 July at 7pm, £15.
Garrick, Bank Street, Whitefield, M45 7JF.
A tower of lyrical excellence, cover such universal themes as procreation and conception, passage of time and mortality, jealousy and love, beauty and erotica. The first section is addressed to a young man; the second focuses on the 'dark lady'; other sonnets express the speaker's view regarding loneliness, old age, force of nature etc. These themes - like their dramatic equivalents - are relevant for all places, times, societies and cultures. "Shakespeare's Sonnets: Poetry-Theatre on Love and Creation" – is a unique theatrical work of Shakespeare's lyrical creation of the sonnets adapted for stage. It is not an ordinary poetry reading event! The songs are transformed into dramatic pieces; the stage interpretation of main themes creates a new sort of theatrical language.
By: William Shakespeare; Translator: Shimon Zandbank; Director: Meir Ben Simon; Stage Designer: Zohar Elmaliah; Costume Designer: Rona Mishol; Music: Nadav Vikinski; Choreography: Omer Shemer; Lighting Designer: Michael Eliezer; Artistic Consultant: Roi Shulberg; Cast: Yoav Amir, Reut Berda-Levy, Odelya Dadoun, Debbie Levin, Gal Shamai.
This show is performed in Hebrew with an English introduction.
Trailer: youtu.be/4q-PQLjTyhY
Interview: youtu.be/AfRhoRH0FuE
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(further information and pictures you can see by clicking on the link at the end of page!)
Volkstheater - People's Theatre
The Volkstheater (2008)
The Volkstheater is one of the most important Schauspielbühnen (drama stages) of Vienna. It was founded in 1889 by the poet Ludwig Anzengruber and the industrialist Felix Fischer by the Association of the German folk theater (Volkstheater), to create an alternative to the Imperial Hofburg Theatre, the latter one the representation of everyday life, the folksy and comedic elements keeping away from its stage boards. The first president of the club was the famous stool manufacturer Franz Thonet. The founders intended in addition to folk plays mainly classical and modern dramas being performed and to provide a broad class of population access to the theater. Therefore the famous Theaterarchitektenduo (duo of theater architects) Ferdinand Fellner and Hermann Helmer the neo-Renaissance building with the representative column loggia have given a large auditorium with little boxes and many exits to the outside, by which this building in the style of historicism became a model for the entire monarchy. The auditorium with the ceiling painting by Eduard Veith, showing the coronation of the Austrian poets Ferdinand Raimund, Johann Nepomuk Nestroy and Ludwig Anzengruber, is one of the last in its original state preserved audiences in Vienna and was with 1900 seats formerly the largest in the entire German-speaking world. Today, the capacity of the theater is 970 places and it is the second largest theater stage in Vienna. According to safety regulations, which were adopted after the Ring Theatre fire in Vienna in 1881, the Volkstheater was the first exclusively electrically lit theater house.
History
On 14 September 1889 opened the theater its doors with Ludwig Anzengruber's drama "The stain on the honor". The bourgeoisie and the aristocracy of money (Geldadel) called the new theater "their house" and thus defied the exclusively reserved for the aristocracy Court Theatre, whose artistic director initially even harbored takeover plans. When the popular theater was run down and broke, he then wanted to buy it cheap. But the people theater celebrated one success after another. Just one year after the opening had to be enlarged the stage area. In 1907 were added a further extension with additional foyer and 1911 more stage side rooms.
In the 1920s, the Volkstheater experienced under the theater directors Alfred Bernau and Rudolf Beer artistic highlights. Spectacular repertoires, prominent actors, directors and stage designers of that time continued the success story of the theater. From 1938 to 1945, the theater became part of the Nazi leisure program "Strength through Joy" of the German Labor Front under Walter Bruno Iltz. In the years 1938/1939 was rebuilt the theater and removed the sculptural decoration on the facade. For a visit of Adolf Hitler even a reception and break room was extra set up, the so-called leaders room (Führerzimmer). In 1944 the dome and foyers were destroyed in an attack, a year later the building was restored but for the time being it was decided not to reconstruct the dome and the facade decoration. Only in the course of a general renovation in the early 1980s the dome was restored. On 10 May 1945, the theater was reopened. After the war, the director and actor Günther Haenel became director of the theater. His game plan focused mainly socio-critical issues.
In the following two decades (1950s and 1960s) dominated on the initiative Leon Epps' contemporary plays and bold interpretations of classics the theater program and the popular theater became famous with Raimund and Nestroy interpretations under the direction of Gustav Manker. Manker became at the beginnings of the 1970s director of the theater and celebrated breakthroughs with the discovery of modern Austrian dramatic literature.
In 1954, the play series "People's Theatre in the districts" was launched. Individual productions of popular theater are presented in external venues in the districts of Vienna. Among these secondary venues since 2005 the "Hundsturm (dogs tower)" as a smaller stage is included in which experimental theater works are staged. But also in the main building of the popular theater are additional venues located, like the "Red Bar" (in the buffet room on the first floor), the "Black Salon", the "White Salon" and the "Reception Room" (formerly "Führerzimmer"). Since 2009/10 in Bellaria Cinema at Museum Street behind the People's Theatre the production "Go West ? - Young authors write for the popular theater" has its home.
The auditorium (2009)
On both sides of the main house in the Neustiftgasse watch "the good spirits of the Viennese popular theater". In the nearby small Weghuberpark sits theater buffoonery poet Ferdinand Raimund suspended in reverie on a marble bench, surrounded by the feminine genius of fantasy. This sculpture was created by the Austrian sculptor Franz Vogl 1898. At the corner of Burggasse/Museum Street a bust of the famous Austrian actress Johanna "Hansi" Niese (by Josef Müllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.
Tower of London Remembers.
To mark the centenary anniversary of the First World War the Tower of London is creating an evolving art installation "Blood Swept Lands and Seas of Red". Formed of 888,246 ceramic poppies by artist Paul Cummins, with setting by stage designer Tom Piper, each poppy represents a British military fatality during the war. The installation was officially unveiled on 5 August 2014, one hundred years since the first full day of Britain's involvement in the First World War and will be in place until 11 November 2014.
On 24 August I helped to build a just a little more of the installation by constructing and planting a batch of poppies. I believe it is now (as in these photos) about a quarter completed. Each poppy is a life lost - when it is completed maybe it will help to demonstrate the scale of those numbers which we really cannot imagine.
Photolithograph; 50 1/8 x 35 1/2 in.
Swiss painter, draughtsman, sculptor and stage designer. He took an apprenticeship as a draughtsman-architect (1924–7) and then studied at the Ecole des Arts et Métiers in Lucerne (1927–8). Between 1928 and 1929 he stayed for the first time in Paris, where he attended the Académie Julian. He continued his training at the Vereinigte Staatschulen für freie und angewandte Kunst, Berlin (1929–30). The works of this period are signed François Grècque, a pseudonym that shows his admiration for ancient Greek art, traces of which are found in his works. In the course of many visits to Paris between 1932 and 1934, he had contacts with many artists, including Brancusi, Alexander Calder, Kandinsky, Mondrian and Henry Moore, and he was strongly influenced by the works of Braque and Picasso. In October 1933 he joined the Abstraction–Création group. In 1935 he collaborated in the exhibition Thèse, antithèse, synthèse at the Kunstmuseum in Lucerne, and in the same year he won a competition organized by that city, which involved the creation of a fresco, The Three Graces of Lucerne, to decorate the railway station. Many official commissions for frescoes or mural reliefs followed.
#Mehndi #Event #UET #Lahore Follow us on Instagram @DclassyClicks and @a2zevents Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor#Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
---
“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
#Mehndi #Event #Faisalabad #FSD #New #Stage
Follow us on Instagram @a2zevents and @DclassyClicks
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Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.DClassyclicks.com , Facebook:- www.facebook.com/a2zevents #decorators #stage_decoration #enterance_decoration #stage_design #vipstage #wedding_planner_in_lahore #wedding #wedding_planning #events_planner #events_organizer #events_designer #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #events_planner_in_pakistan #events_designer_in_pakistan #birthday_parties #corporate_events_stages_setup #mehndi_setup #barat_setup #barat_event_setup #mehndi_stage_decoration #barat_stage_decoration #best_event_planners_in_lahore lahore #event_organizer_in_lahore #event_planners_in_pakistan #walima_setup #mehndi_event_setup #walima_event_setup #wedding_events_planner #wedding_events_organizer #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers #best_weddings_planners_in_Lahore
Giovanni Paolo Panini was born in Piacenza where he first trained under a stage designer. He later moved to Rome to study drawing and began specializing in decorations. In 1716, Panini was painting depictions of Rome’s ancient and modern monuments. Not long after, he began receiving recognition, joining the Congregazione dei Virtuosi al Pantheon and the Accademia di San Luca. He eventually taught at the latter and became the principal. Beginning in the 1720’s. Panini painted frescoes for important clients including the pope. He also taught at the Academie de France in Rome where he influenced Jean-Honore Fragonard.
#Gorgeous #Engagement #Event #a2z_Events_Solutions #FarmHouse #Kahna #Marquee #Fun_stuff #Selfie_props #Selfie_booth #Hanging_garden
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V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
---
“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
#Nikah #Event #a2z #Wedding #Hall Follow us on Instagram @DclassyClicks and @a2zevents We are now taking bookings for July-17 to Apr-18 Please Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.DClassyclicks.com , Facebook:- www.facebook.com/a2zevents #DClassyClicks #DClassyClicksbya2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #hoteldecor #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
#Mehndi #Eevent #Executive #Class #a2zmarquee Follow us on Instagram @DclassyClicks and @a2zevents Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor#Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
#Nikah #Event #a2z #Wedding #Hall Follow us on Instagram @DclassyClicks and @a2zevents We are now taking bookings for July-17 to Apr-18 Please Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com, www.DClassyclicks.com , Facebook:- www.facebook.com/a2zevents #DClassyClicks #DClassyClicksbya2zevents #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #hoteldecor #Mehndi #a2zeventssolutions #creativeweddingplanner #Walima #Barat #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
#Grand #Birthday #Event #Qasoor #Cars_Theme #Thematic #Birthday #Event #Planners #Aqiqa_Event #Goody_bags #Gifts #Magic_Show #Puppet_Show #Jumping_Castle #Slides #Kids_Games #Kiddy_rides
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#barat_stage_decoration #best_event_planners_in_lahore lahore #event_organizer_in_lahore #event_planners_in_pakistan #walima_setup #mehndi_event_setup #walima_event_setup #wedding_events_planner #wedding_events_organizer #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers
V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
---
“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)
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Festival de wereld van Witte de With, Rotterdam 2010
De Tiller Girls zijn terug! Dit dansgezelschap maakte begin 20e eeuw internationaal furore met hun spectaculaire en gewaagde ‘Chorus-line dance’. De dans hypnotiseerde haar toeschouwers door de uiterst strakke choreografie waarbij de rij sexy benen eindeloos hoog de lucht in gaat. Honderd jaar na dato presenteert V2_ tijdens De Wereld van Witte de With een dansvoorstelling van kunstenaar Louis-Philippe Demers geïnspireerd op dit uniek stukje dansgeschiedenis. In Demers’ wervelende show zijn de Tiller Girls vervangen door twaalf robots die een Chorus-line dance uitvoeren. Haal de smokings en de avondjurken uit de kast want zoiets heeft u nog nooit gezien!
Don't miss it – the Tiller Girls are back! This famous dance troupe caused an international sensation at the beginning of the 20th century with its spectacular, daring chorus line dance. The dance has a hypnotic effect on viewers thanks to its extremely tight choreography, in which a line of sexy legs rises endlessly up, up, up into the air.
A century after the original Tiller Girls conquered the world, V2_ presents artist Louis-Philippe Demers’ performance inspired by this unique piece of dance history during De Wereld van Witte de With. In Demers’ sparkling show, the Tiller Girls will be replaced by a dozen robots who will perform the chorus line dance. The public is welcome to attend. Get out your tuxedos and evening dresses, because you've never seen anything like this!
Louis-Philippe Demers makes large-scale robotic environments and interactive media artworks. He was Professor at the HfG/ZKM and currently is at the Interaction and Entertainment Research Centre at the NTU (Singapore).
Philip Schulze is a media artist, composer and improviser. Schulze develops site-specific visual and auditory experiences and collaborative action spaces. He is responsible for Real-Time Audio Design.
Armin Purkrabek is a stage designer, researcher and media artist. Purkrabek develops futuristic scenographies thru digital/analogue art experiments. He is responsible for Real-Time Video/Lights Design.
Walima Royal Palm Silver Bell Marquee Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #creativeweddingplanner #a2zeventssolutions #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #wallima #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
Blood Swept Lands and Seas of Red
The evolving installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, will be unveiled on 5 August 2014; one hundred years since the first full day of Britain’s involvement in the First World War.
Entitled ‘Blood Swept Lands and Seas of Red’, the installation is being created in the Tower’s famous dry moat. It will continue to grow throughout the summer until the moat is filled with 888,246 ceramic poppies, each poppy representing a British or Colonial military fatality during the war.
- See more at: www.hrp.org.uk/TowerOfLondon/stories/firstworldwar/TheTow...
V Małopolskie Dni Dziedzictwa Kulturowego, maj/czerwiec 2003
Harmęże są położone w Kotlinie Oświęcimskiej. Można odwiedzić tutaj kościół pw. Matki Bożej Niepokalanej i klasztor oo. Franciszkanów oraz prowadzone przez nich Centrum Świętego Maksymiliana. Niedaleko stąd znajduje się obóz Auschwitz.
W podziemiach kościoła od kilku lat mieści się wystawa, po której obejrzeniu ks. Józef Tischner napisał: „Moja reakcja jest taka: prawdziwy Oświęcim jest tutaj. I to właściwie wszystko, co mogę powiedzieć”.
Czy można pisać o czymś, co jest tkwiącym od lat w pamięci obrazem, tytułową kliszą, a zarazem – świadectwem, według towarzyszących tej wystawie słów Zbigniewa Herberta? Przerażającym i zatrważającym świadectwem tego, jak zły i jak wspaniały może być człowiek. Autor wystawy napisał: „[...] to nie wystawa – nie sztuka, nie obrazy, a słowa zamknięte w rysunku. […] Sztuka jest bezradna wobec tego, co człowiek zgotował człowiekowi”.
Labirynt obrazów wywołanych z pamięci i odtworzony w kościelnych podziemiach wciąż się powiększa. Rysowane ołówkiem prace, rzadko wzbogacone kolorem, zapełniają ściany, a towarzyszą im rekwizyty obozowej codzienności. Drobne detale – kamienie i potłuczone szyby – tworzą niezwykle sugestywną atmosferę. Pogłębia ją panująca tutaj cisza.
Marian Kołodziej, autor wystawy, jest scenografem, absolwentem krakowskiej Akademii Sztuk Pięknych, profesorem. Był także więźniem nr 432 KL Auschwitz. Trafił tam jako kilkunastoletni chłopiec z pierwszym transportem więźniów. Żył w obozie od pierwszego dnia jego istnienia do końca. Niemcy prowadzili przeciw niemu długie śledztwo poprzedzające wyrok śmierci za przerysowywanie planów obozu dla aliantów. Nie zdążyli wykonać wyroku. Marian Kołodziej przejął swoje nazwisko po zmarłym więźniu. Nigdy nie ujawnił swej prawdziwej tożsamości.
Przez pięćdziesiąt lat milczał na temat swojej obozowej przeszłości. Wskutek ciężkiej choroby w połowie lat 90. rozpoczął rysowanie. Stało się ono dla niego walką o życie. A potem obowiązkiem i spełnieniem przyrzeczenia danego kolegom w obozie. „To list starego człowieka do samego siebie sprzed 55 lat. Również hołd tym wszystkim, którzy spopieleni – odeszli”.
„Śpię i widzę ten zmasowany atak wielogłowej Bestii, koni, smoków, gadów […]. Jest jak w Biblii. Czterech jeźdźców, Wszetecznica, plagi z nieba. Wszystko posłuszne wersetom Apokalipsy św. Jana, choć zostało wtłoczone w obóz, w realia obozu. Sami tę Apokalipsę stworzyliśmy w sobie, dla siebie. I dzisiaj śnię tak samo i to samo...” (M. Kołodziej)
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“Images from Memory” Exhibition
in Harmęże
Harmęże, situated in the Oświęcim Valley, is worth a visit as it is the home to the Church of the Immaculate Virgin, and a Franciscan monastery, the latter running the Saint Maximilian Centre.
The church’s crypt holds an exhibition which prompted priest Józef Tischner to say: “My impression is this: It is here that the real Auschwitz Concentration Camp is found. This is all I am able to say”.
Indeed it is not easy to speak of something which sticks to one’s memory as the “plate” in the title, a film of images, and a testimony – in the words of Zbigniew Herbert, which accompany the exhibition – a terrible testimony of how evil and how virtuous a human being can be. In the words of the author of the display: “[…] this is not an exhibition – this is not art, not pictures but words embedded in drawing. […] Art is useless in the face of what one man has brought upon another”.
The labyrinth of images lifted from the memory and recreated in the church’s dungeons continues to grow. Drawings in pencil, with hardly any colour, fill the walls, and they are accompanied with the props of everyday life in the concentration camp. Details such as stones and broken glass are very powerful, and the sombre mood is enhanced by the absolute silence that envelops the place.
Marian Kołodziej, the author of the exhibition and a professor, is a stage designer who graduated from the Kraków Academy of Fine Arts. He was also prisoner number 432 of the Auschwitz concentration camp. He was brought there, a teenage boy, with the first “batch” of prisoners. He lived in the camp throughout its infamous existence, from day one, until the end. The Nazis held a lengthy trial against him, concluding with a death sentence, for tracing the plans of the camp for the Allied Forces. The execution never took place. Marian Kołodziej took on the name of a dead prisoner, and he never admitted his true identity.
For 50 years he remained silent on the subject of his past in the concentration camp. When he fell seriously ill in mid-1990s, he started to draw – and drawing helped him fight to remain alive. Later it became his duty, and the fulfilment of an oath given to his camp companions. “This is a letter of an old man to himself of 55 years ago. And a homage to all those who departed – burnt to ashes.”
“I am asleep and see the charge of the manyheaded Beast, the horses, the dragons, the reptiles […]. It is like in a Bible. The Four Horsemen, the Whore, plagues from the Heavens. All in accordance with St John’s Apocalypse, but embedded in the camp and its reality. We have created this Apocalypse ourselves, within ourselves, for ourselves. And today I dream the very same dream, again and again...” (M. Kołodziej)