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Wien, 7. Bezirk (the art of monuments of Vienna), in memoriam Ferdinand Raimund (Neustiftgasse/Museumstraße) by alfred lex

(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 SchauspielbĂźhnen (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 (FĂźhrerzimmer). 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 GĂźnther 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 "FĂźhrerzimmer"). 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 MĂźllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.

www.wienwiki.wienerzeitung.at/WIENWIKI/Volkstheater
Wien, 1. Bezirk (the art of very historic institutions of Vienna), Künstlerhaus (the house of the artists, la casa de los artistas, la maison des artistes, la casa degli artisti) - Karlsplatz/Bösendorferstraße/Akademiestraße by Alfred Lex

Young Art in the German Reich

The exhibition Young Art in the German Reich was commissioned by the Reichsstatthalter (The "Reichsstatthalter" ("Reich Lieutenant", "Reich Governor") was a title used in the German Empire and later the Third Reich) and Reichsleiter (Reich leader) Baldur von Schirach in 1943 at the KĂźnstlerhaus (House of Art) in Vienna. Schirach's general cultural advisor, Walter Thomas in Vienna, commissioned Wilhelm RĂźdiger from Munich to compile the exhibition. Shown were 582 works by 175 artists.

History

Wilhelm RĂźdiger organized an exhibition of contemporary art in Weimar in the summer of 1942 on the occasion of a German-Italian youth meeting under the title "Young Creations". Schirach was enthusiastic about this exhibition and ordered the delivery of the exhibition to Vienna. In Vienna, the exhibition was supplemented by several Austrian artists.

Although the title said it was about "Young Art", many artists were already quite old. For example, Karl Albiker was already 65 years old. In the VĂślkischer Beobachter, Heinrich Neumayer wrote: "If we speak of young German art here, we already speak of purified wine, we do not experience fermentation processes, storm or cider in the art shown here." "Young" should be interpreted in the context of "old" art in the House of German Art. With the Exhibition Young Art in the German Reich, Schirach made a cautious attempt to reestablish the importance of Vienna as a cultural center.

Simultaneously with the exhibition Young Art in the German Reich, a Klimt exhibition was held in the exhibition house on Friedrichs street, also on the initiative of Schirach. This exhibition attracted the visitors: it counted 24,096 admissions, and the exhibition duration was extended by a week, while the exhibition young art in the German Reich reached only 9,084 visitors.

At the same time, works by Käthe Kollwitz and Egon Schiele were on display in the Albertina. All these exhibitions together were a protest against the official policy of the Berlin Reich Chamber of Culture and the Munich House of German Art. In addition, were in the exhibition Young Art in the German Reich also artists presented whose works were previously confiscated in German museums, including Josef Hegenbarth, Josef Henselmann, Hanna Nagel, Carl Moritz Schreiner, Milly Steger and Friedrich Vordemberge.

Adolf Ziegler described the exhibition in a report as a representation of "moderate form of decay art". Joseph Goebbels sent Karl Kolb, Director of the German House of Art, and Benno von Arent, ReichsbĂźhnenbildner (Reich stage designer), to Vienna for an inspection. Their verdict was: nothing less than a "liberalist mess". The exhibition, scheduled from 7 February to 28 March, aroused the displeasure of Joseph Goebbels and Adolf Hitler. According to Schirach's memoirs, Baldur von Schirach was referred as the person responsible to Adolf Hitler: in the catalog of the exhibition this one had shown a picture and said "Look at this picture - a green dog!" (Work by Josef Hegenbarth). The exhibition was prematurely closed on March 7, 1943, allegedly because of overloading the Reichsbahn (German National Railway), as the Vienna Press reported.

In addition to the 1933 exhibition organized by the National Socialist German Student Union in Berlin "30 German Artists", it was was one of the few official Nazi exhibitions that was closed because of the "alleged suspicion of art degeneration". The exhibition was one intended provocation, not as a resistance to the Nazi regime per se. Schirach wanted to try an escape from the "sterility of the official exhibitions" to reopen the 1933/34 violent Expressionism debate in Germany. It was also an action against his inner party enemies, Goebbels and Alfred Rosenberg.

This exhibition has hurt the participating artists very much. Only two years later, these artists were seen as so-called followers and minions.

 

Junge Kunst im Deutschen Reich

Die Ausstellung Junge Kunst im Deutschen Reich wurde im Auftrag des Reichsstatthalters und Reichsleiters Baldur von Schirach 1943 im Wiener KĂźnstlerhaus durchgefĂźhrt. Schirachs Generalkulturreferent, Walter Thomas in Wien, beauftragte Wilhelm RĂźdiger aus MĂźnchen, die Ausstellung zusammenzustellen. Gezeigt wurden 582 Werke von 175 KĂźnstlern.

Geschichte

Wilhelm Rüdiger organisierte bereits im Sommer 1942 in Weimar anlässlich eines deutsch-italienischen Jugendtreffens eine Ausstellung zeitgenössischer Kunst unter dem Titel „Junges Schaffen“. Schirach war von dieser Ausstellung begeistert und verfügte die Übergabe der Ausstellung nach Wien. In Wien wurde die Ausstellung um einige österreichische Künstler ergänzt.

Obwohl es im Titel hieß, es gehe um „Junge Kunst“, waren viele Künstler bereits recht betagt. Karl Albiker war zum Beispiel bereits 65 Jahre alt. Im Völkischen Beobachter schrieb Heinrich Neumayer dazu: „Wenn hier von junger deutscher Kunst die Rede ist, so ist durchaus schon von geläutertem Wein die Rede, nicht Gärungsprozesse, Sturm oder Most erleben wir in der hier gezeigten Kunst“. „Jung“ sollte im Kontext der „alten“ Kunst im Haus der Deutschen Kunst gedeutet werden. Mit der Ausstellung Junge Kunst im Deutschen Reich unternahm Schirach einen vorsichtigen Versuch, die Bedeutung Wiens als Kulturzentrum wieder zu etablieren.

Gleichzeitig mit der Ausstellung Junge Kunst im Deutschen Reich fand im Ausstellungshaus an der Friedrichsstraße, ebenfalls auf Anregung Schirachs, eine Klimtausstellung statt. Diese Ausstellung zog die Besucher an: sie zählte 24.096 Eintritte, und die Ausstellungsdauer wurde um eine Woche verlängert, während die Ausstellung Junge Kunst im Deutschen Reich lediglich 9.084 Besucher erreichte.

Ebenfalls zur selben Zeit waren in der Albertina Werke von Käthe Kollwitz und Egon Schiele zu sehen. Alle diese Ausstellungen zusammen kamen einem Protest gegen die offizielle Politik der Berliner Reichskulturkammer und des Münchner Hauses der Deutschen Kunst gleich. Außerdem wurden in der Ausstellung Junge Kunst im Deutschen Reich auch Künstler präsentiert, deren Werke zuvor in deutschen Museen beschlagnahmt wurden, darunter Josef Hegenbarth, Josef Henselmann, Hanna Nagel, Carl Moritz Schreiner, Milly Steger und Friedrich Vordemberge.

Adolf Ziegler bezeichnete die Ausstellung in einem Bericht als eine Darstellung von „gemäßigter Form der Verfallskunst“. Joseph Goebbels entsandte Karl Kolb, Direktor des Deutschen Haus der Kunst, und Benno von Arent, Reichsbühnenbildner, zu einer Inspektion nach Wien. Deren Urteil lautete: Eine einzige „liberalistische Schweinerei“. Die Ausstellung, geplant vom 7. Februar bis 28. März, erregte das Missfallen von Joseph Goebbels und Adolf Hitler. Baldur von Schirach wurde, gemäß Schirachs Memoiren, als Verantwortlicher vor Adolf Hilter zitiert: Dieser habe im Katalog der Ausstellung auf eine Abbildung gezeigt und gesagt „Schauen Sie sich dieses Bild an – ein grüner Hund!“ (Werk von Josef Hegenbarth). Die Ausstellung wurde vorzeitig am 7. März 1943 geschlossen, angeblich wegen Überlastung der Reichsbahn, wie die Wiener Presse vermeldete.

Sie war neben der 1933 vom Nationalsozialistischen Deutschen Studentenbund in Berlin organisierten Ausstellung „30 Deutsche Künstler“ eine der wenigen offiziellen NS-Ausstellungen, die wegen des „angeblichen Verdachts der Kunst-Entartung“ geschlossen wurde. Die Ausstellung war eine, nicht als Widerstand gegen das NS-Regime an sich, beabsichtigte Provokation. Schirach wollte einen Ausbruch aus der „Sterilität der offiziellen Ausstellungen“ versuchen, um die 1933/34 in Deutschland heftig geführte Expressionismusdebatte wieder zu eröffnen. Es war auch eine Aktion gegen seine innerparteilichen Feinde, Goebbels und Alfred Rosenberg.

Den teilnehmenden Kßnstlern hat diese Ausstellung sehr geschadet. Nur zwei Jahre später sah man diese Kßnstler als sogenannte Mitläufer und Gßnstlinge an.

de.wikipedia.org/wiki/Junge_Kunst_im_Deutschen_Reich
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Blood Swept Lands and Seas of Red by Matt Keyworth

The art installation "Blood Swept Lands and Seas of Red" at the Tower of London, marks one hundred years since the first full day of Britain's involvement in 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 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.
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Wien, 13. Bezirk (the art of very historic places in the suburbs of Vienna) - Schloss Schönbrunn (Palacio de Schönbrunn, Schönbrunn Palace, Palazzo di Schönbrunn, le Palais de Schönbrunn), Marionette Theater (Schönbrunner Schlossstraße) by Alfred Lex

BiografĂ­a

En julio de 1777, Clemens Wenzel de Sajonia, prĂ­ncipe elector y arzobispo de TrĂŠveris, visitĂł Viena. Era un pariente del duque Alberto de Sajonia-Teschen, yerno de MarĂ­a Teresa y marido de su hija favorita, Marie Christine. En honor de la visita de TrĂŠveris Sajonia, el teatro de Marionetas del prĂ­ncipe EsterhĂĄzy dĂ­o un espectĂĄculo que fue premiado de muchĂ­simo aplauso. "Por estĂĄ razĂłn, en SchĂśnbrunn fue construido un teatro y las marionetas y decoraciones llevados a Viena". Fue interpretado "Alceste", una parodia respecto de la Ăłpera del mismo nombre de Christoph Willibald Gluck.

Basandose en estĂĄ tradiciĂłn, Christine Hierzer-Riedler y Werner Hierzer fundaron

EL TEATRO DE TÍTERES PALACIO DE SCHÖNBRUNN

DespuĂŠs de una generosa renovaciĂłn del "tracto del consejo de la Corte" por el Palacio de SchĂśnbrunn Empresa de cultura y de explotaciĂłn, el teatro en 1994 pudo ser abierto. De estĂĄ manera, en el tracto del consejo de la Corte por las reprecentaciones mĂĄgicas fue creado un ambiente perfecto.

El teatro de marionetas en SchĂśnbrunn se administro como un teatro privado. Los dos fundadores y directores artĂ­sticos

Christine Hierzer-Riedler & Werner Hierzer

cuentan con mås de 40 aùos de experiencia internacional en el arte del espectåculo de las marionetas. Entre los lugares destacados se incluyen ciudades como Atenas, Berlín, Boston, Bruselas, Florencia, Hong Kong, Londres, Los Ángeles, Madrid, Ciudad de MÊxico, Miami, Montreal, Nueva York, París, Pekín, Roma, Seúl, Teherån y muchos mås.

Dos equipos bien entrenados permiten actuaciones de la mĂĄs alta calidad, tanto en el teatro en SchĂśnbrunn, asĂ­ como en cualquier momento en sus giras internacionales.

Los tĂ­teres, los trajes, el decorado y la maquinaria escĂŠnica se producen en colaboraciĂłn con destacados directores, escenĂłgrafos y diseĂąadores de vestuario de teatro en los talleres internos.

Premios internacionales recompensan los esfuerzos para satisfacer los estĂĄndares mĂĄs altos:

1er Premio, Festival Internacional de Teatro de TĂ­teres, TeherĂĄn

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 SchĂśnbrunner 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 SchÜnbrunn, erbaut 1695 - 1700 nach Plänen von Johann Bernhard Fischer von Erlach. Umgestaltet 1743 - 1749 unter Maria Theresia nach Plänen von Nikolaus von Pacassi.
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MUSEUM OF AVIATION by Nathan Jonas

The newest attraction of Burgas Municipality is located at the entrance of Burgas Airport, and close to Sarafovo district. Each visitor can get there by public bus, bicycle or private car as everything is provided by a safe and easy access.

 

All guests have the opportunity to explore the newly built exhibition park, and discover the secrets of the “exhibits that come alive”. They can take on the role of a pilot and run an airplane they choose by using virtual reality glasses. The impressive interactive exposition named Homo Volans, meaning “The Flying Man”, is made by the stage designer Venelin Shurelov. It is the main indoor exhibition placed in the only AN-12 aircraft left in Bulgaria. The exhibition aims to recreate the aviation technique through many curious authentic objects such as a rich collection of aircraft models, author’s objects and costumes, interactive installations and archives from the aviation history. Visitors can sit on the pilot seat of the world’s most popular single-engine and dual-plane aircraft, to feel closely the effect of a working aircraft engine, to teach a real black box of an airplane and navigation devices aiming to complete the experience.

 

The old planes at Bourgas Airport have recently been depreciated and inaccessible. The idea to become a part of an outdoor air museum has been in existence since 1998, when the first museum of aviation in Burgas was opened. In 2005, the exhibition closed doors, and the airplanes remained ownerless. In 2012, the Municipality of Burgas and conscious citizens took the task to preserve the aircrafts, and in small steps to work together on restoration of the unique exposition. Over the years, the exhibition “Old Airplanes” has become an attractive spot for both locals and tourists who travel there annually. It has established itself as the only exposition with airplanes that were part of the BCA Balkan fleet – An-2, An-12, An-14, An-24, Tu-154.

 

The museum was opened on 29th June 2017, when 70 years of the first civil flight in Bulgaria took place: Sofia-Burgas. The airplane museum of Burgas has the purpose to develop as a centre for exploring the aviation technique and feeding the love of people for aviation.
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Blood Swept Lands and Seas of Red by Gilder Kate

Tower of London, 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.

 
Wien, 7. Bezirk (the art of very historical buildings of Vienna), Volkstheater - théâtre, teatro, theater (Neustiftgasse/Burggasse/Museumstraße) - Old Masters by Thomas Bernhard by alfred lex

(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 SchauspielbĂźhnen (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 (FĂźhrerzimmer). 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 GĂźnther 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 "FĂźhrerzimmer"). 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 MĂźllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.

www.wienwiki.wienerzeitung.at/WIENWIKI/Volkstheater
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The right backdrop by Jan Egil Kristiansen

I think the stage designers refer to this side as (stage) right.

 

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The Tower Of London remembers the First World War 1914-1918

 

The major art installation Blood Swept Lands and Seas of Red at the Tower of London, marked one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively filled the Tower's famous moat between 17 July and 11 November 2014. Each poppy represented a British military fatality during the war.

 

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Blood Swept Lands and Seas of Red - Another angle by Dimuthu Ratnayake

The art installation "Blood Swept Lands and Seas of Red" at the Tower of London, marking one hundred years since the first full day of Britain's involvement in 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 over the summer. Each poppy represents a British military fatality during the war.

 

poppies.hrp.org.uk/about-the-installation

 

[London, United Kingdom]
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Blood Swept Lands and Seas of Red by Matt Keyworth

The art installation "Blood Swept Lands and Seas of Red" at the Tower of London, marks one hundred years since the first full day of Britain's involvement in 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 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.
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Wien, 7. Bezirk (the art of very historical theater buildings of Vienna), Volkstheater - théâtre, teatro, theater (Neustiftgasse/Burggasse/Museumstraße), little man, what now? by Josef Lex (El buen soldado Švejk)

(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 SchauspielbĂźhnen (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 (FĂźhrerzimmer). 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 GĂźnther 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 "FĂźhrerzimmer"). 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 MĂźllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.

wienwiki.wienerzeitung.at/WIENWIKI/Volkstheater
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Nadezhda Alexeeva, Anastasia Alexeeva, Larisa Deduh, Marina Vihrova, Gandria 2014 by Markus Zohner

Long-years old friends from Mali-Theatre in Novgorod have come to "Maggiolino" - Theatre Festival Lugano for presenting their new performance "Little Feelings". Very happy seeing them again, and showing them around for a day...

 

I nostri vecchi amici del Mali-Theater Novgorod con la loro nuova produzione "Little Feelings" sono stati ospiti del ""Maggiolino" - Theatre Festival Lugano. Grande gioia di rivederli, e meravigliosa gita a Gandria...

  

Unsere alten Freunde des Mali-Theater in Novgorod waren mit ihrer neuen Produktion "Little Feelings" zu Gast am "Maggiolino" - Theatre Festival Lugano. Grosse Wiedersehensfreude, und ein wunderbarer Ausflug nach Gandria...

 

zohner.ch/alter-baum-mit-jungen-zweigen-das-konig-festiva...

  

Novgorod theatre for children and youth ''Mali'' has been founded in 1990, and headed by artistic director Nadezhda Alexeeva. The theatre is a member of International Association of theatres for children and youth (ASSITEJ), IETM member and an active participant of projects of Theatre Union of Russia; it has visited the theatre festivals in Japan, South Korea, Baltic countries, Norway, Hungary and others, also at Russian festivals in Moscow, Saint-Petersburg, Samara, Magnitogorsk, etc. The theatre has cooperated with directors and stage designers from Switzerland and France. In 1992 theatre ''Mali'' has founded the International theatre Kingfestival, dedicated to the mythology in theatrical sphere. The theatre has got its own acting course based on Novgorod University, which first theatre master was the famous director and theatre professor Zinoviy Korogodsky. Nowadays theatre ''Mali'' is a dynamically developing theatre space; there is a place for experiment, transformation, and innovational forms. The theatre is not afraid to expand the genre borders and creates both drama performances and performances in field of object theatre and movement theatre.

 

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Novgorod Mali theatre for children and youth "Mali" è stato fondato nel 1990 ed è guidato dal direttore artistico Nadezhda Alexeeva. Il teatro è membro dell'Associazione Internazionale dei Teatri per bambini e giovani (ASSITEJ), membro dell'IETM e partecipante attivo di progetti della Theatre Union of Russia; è stato invitato a festival teatrali in Giappone, Corea del Sud, Paesi Baltici, Norvegia, Svizzera , Francia, Spagna, Ungheria, Polonia e altri, come anche a festival russi a Mosca, San Pietroburgo, etc. Il teatro ha inoltre collaborato con registi e scenografi provenienti da Svizzera, Francia, Lettonia, Bulgaria. Nel 1992, il teatro "Mali" ha fondato il l’International Theatre Kingfestival, dedicato alla mitologia in ambito teatrale.

Oggi "Mali" è uno spazio teatrale in dinamico sviluppo, dove trovano posto la sperimentazione, la trasformazione e l’innovazione. Il teatro non ha paura di espandere i confini di genere e crea spettacoli teatrali e performance nel campo del teatro d’oggetti e del teatro di movimento. "Mali" ha ottenuto il Premio Speciale della Theatre Union of Russia "Per il contributo allo sviluppo del teatro russo per la gioventù" e il Golden Sign della Theatre Union of Russia.

 

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