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In order for SJ to better utilize spare parts in the 1910s, and to get a larger, fast-track tank stop for traffic on lanes outside the main lantern, 1917 put together a latch type consisting of: The boiler from the E-locomotive, B-locomotive gear, running boggie from A-lok and running axle from A-lok. The result was a big tanker with a weight in service of up to 80 tonnes.
The locomotive was very successful, and the 5 locomotives proved not only to work well in passenger trains, but also in heavy freight trains and fast mixed trains. With its built-in cabin, the room also fitted well in Norrland's harsh winter cold. The club's 1306 final, first ended in Malmö, but moved after three years to Falköping to serve together with two turf-powdered sisters. After stationing in both Stockholm, Gothenburg and Kristinehamn, the 1957 locality in Kristianstad ended up dragging passenger trains on Blekinge Coastal Railways. In 1962 the box was put, preserved and transferred to the reserve reserve as many other locomotives. When the SJK in 1971 decided to buy a lane for its delivery, it was a requirement that the lorry would have large storage, high sth and be easy to handle with external machinery.
The election fell on the S2-type as the office was now called, and the election was between 1306 and 1309. 1306 in Hästveda's final figures were considered to be in the best condition, and the box was bought by the association in 1972. After some cosmetic work at the office, the SJ Sb 1306 again could pull the train On SJ's lines in SJK's exit train. Initially, they also had their own wagons, but they were sold to various museum associations in the late 1970s, and SJK instead borrowed carriages from SJ when carrying out trips.
The lack of roof over the head made the situation unsustainable, and temporary solutions such as the final figures in Månsbo winter 1980/81 became less suitable for the big and heavy box and Sbn was deposited into mfGDJ in Falun. The lock was mostly shut down and after a failed attempt to put the booth into operation in the late 80's when a number of little buckets ran leaked, SJK moved in 1989 to the deposit of the NBVJ office. In Nora, the works started immediately, and after almost two years the box could be burned outside the workshop after, inter alia, the replacement of the entire tubing.
Since then, the box has been used in the association's traffic on both its own track and SJ's lines. Due to the large storage area of the building, it is easy to drive Nora-Örebro-Nora without having to drain water during the trip. The highest permitted speed even in reverse makes it unnecessary to turn the seat. In addition to normal maintenance, the lock has no major flaws in the service of the association, although a gearbox in the firebox has begun to show some signs of fatigue, because the box is running a bit more sparingly today than before. The box was bought in 2003 by NBVJ from SJK.
Our mission is to utilize USS Hornet and the collections, exhibitions and educational programming to promote awareness and understanding of history, science, technology, and service. The might of an aircraft carrier lies in its ability to quickly move about the world’s oceans, projecting power whenever and wherever it is needed. The heart of a carrier’s combat strength is its aircraft; her Air Groups provided Hornet’s lethal sting. Hornet’s success was dependent on the capabilities of highly trained pilots and aircrews and the specialized aircraft that operated from her flight deck.
In World War II, her air groups consisted of a fighter (VF) squadron, a bombing (VB) squadron and a torpedo (VT) squadron. During the 1950s as naval warfare technology evolved, so too did the complexity and specialty of carrier-based aircraft. Joining the classic fighter and attack aircraft were electronic/early warning, photo-reconnaissance, and anti-submarine warfare aircraft. Dual-role aircraft also provided aerial tanking and limited cargo capabilities and helicopters proved essential to carrier operations which included search and rescue missions.
Utilizing our Cosmic Color Ribbons which we put on our roof for
Christmas I created a computer show for Independence Day. Unfortunately
one string has developed a problem and stays lit as white all the time.
It's a little distracting but does not hurt the overall show.
Eventually I have to get on the roof to determine the cause of the
problem.
Part 1 features the first two songs used: Call to the Colors and Star Spangled Banner.
Hope you enjoy. The overall show last about 50 minutes so I've broken
down the segments into smaller sections for easier viewing.
Happy Birthday America and Happy 4th of July to All!
If you would like to see the other 3 parts to the show go to
www.youtube.com/channel/UCbdk6vpWjakAHHW5kuztEjA
All 4 parts are on YouTube.
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).
Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.
The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the closing reception at Wave Pool on April 30th, 2022, featuring performances by:
- Kiara Chimera (host)
- Stixen Stones
- Vanta Black
- Honey Stix-Chimera
- Montana Ba Nana
- Tara Newone
- Clinica Deprecious
- Calamity Addams
"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.
To see the full "Life is Drag" archive:
lifeisdrag.com
Photo by Kellie Coleman
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, that means 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
"Don't ever try to search for a good person in this twisted world. Instead, try to make yourself the best. Who knows, if that act of yours may end someone's search. After al giving is allways bigger than expecting." - SDBWQ
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Lahaul and Spiti district
The district of Lahaul-Spiti in the Indian state of Himachal Pradesh consists of the two formerly separate districts of Lahaul and Spiti. The present administrative centre is Keylong in Lahaul. Before the two districts were merged, Kardang was the capital of Lahaul, and Dhankar the capital of Spiti.
Kunzum la or the Kunzum Pass (altitude 4,551 m; 14,931 ft) is the entrance pass to the Spiti Valley from Lahaul. It is 21 km from Chandra Tal.[1] This district is connected to Manali through the Rohtang Pass. To the south, Spiti ends 24 km from Tabo, at the Pare chu gorge where the road enters Kinnaur and joins with National Highway No. 22.[2]
The two valleys are quite different in character. Spiti is more barren and difficult to cross, with an average elevation of the valley floor of 4,270 m (14,009 ft). It is enclosed between lofty ranges, with the Spiti river rushing out of a gorge in the southeast to meet the Sutlej River. It is a typical mountain desert area with an average annual rainfall of only 170 mm (6.7 inches).[3]
Flora and fauna
Lahaul valley in winter
Mountain peak in Lahaul and Spiti district
The harsh conditions of Lahaul permit only scattered tufts of hardy grasses and shrubs to grow, even below 4,000 metres. Glacier lines are usually found at 5,000 metres.
Animals such as yaks and dzos roam across the wild Lingti plains. However, over-hunting and a decrease in food supplies has led to a large decrease in the population of the Tibetan antelope, argali, kiangs, musk deer, and snow leopards in these regions, reducing them to the status of endangered species. However, in the Lahaul valley, one can see ibex, brown bears, foxes and snow leopards during winter.
[edit]People
Mother and child in near Gandhola Monastery. 2004
The language, culture, and populations of Lahaul and Spiti are closely related. Generally the Lahaulis are of Tibetan and Indo-Aryan descent, while the Spiti Bhotia are more similar to the Tibetans, owing to their proximity to Tibet. Fairer skin and hazel-colored eyes are commonly seen among the Lahaulis.
The languages of both the Lahauli and Spiti Bhutia belong to the Tibetan family. They are very similar to the Ladakhi and Tibetans culturally, as they had been placed under the rule of the Guge and Ladakh kingdoms at occasional intervals.
Among the Lahaulis, the family acts as the basic unit of kinship. The extended family system is common, evolved from the polyandric system of the past. The family is headed by a senior male member, known as the Yunda, while his wife, known as the Yundamo, attains authority by being the oldest member in the generation. The clan system, also known as Rhus, plays another major role in the Lahauli society.
The Spiti Bhutia community has an inheritance system that is otherwise unique to the Tibetans. Upon the death of both parents, only the eldest son will inherit the family property, while the eldest daughter inherits the mother's jewellery, and the younger siblings inherit nothing. Men usually fall back on the social security system of the Trans-Himalayan Gompas.
[edit]Lifestyle
The lifestyles of the Lahauli and Spiti Bhotia are similar, owing to their proximity. Polyandry was widely practiced by the Lahaulis in the past, although this practice has been dying out. The Spiti Bhutia do not generally practice polyandry any more, although it is accepted in a few isolated regions.
Divorces are accomplished by a simple ceremony performed in the presence of village elders. Divorce can be sought by either partner. The husband has to pay compensation to his ex-wife if she does not remarry. However, this is uncommon among the Lahaulis.
Agriculture is the main source of livelihood. Potato farming is common. Occupations include animal husbandry, working in government programs, government services, and other businesses and crafts that include weaving. Houses are constructed in the Tibetan architectural style, as the land in Lahul and Spiti is mountainous and quite prone to earthquakes.
[edit]Religion
Kunzum Pass between Lahul & Spiti
Ki-Gompa Spiti
Most of the Lahaulis follow a combination of Hinduism and Tibetan Buddhism of the Drukpa Kagyu order, while the Spiti Bhotia follow Tibetan Buddhism of the Gelugpa order. Within Lahoul/swangla, the Baralacha-La region had the strongest Buddhist influence, owing to its close proximity to Spiti. Lahoul/swangla has temples such as Triloknath , where pilgrims worship a certain god in different manifestations, notably in the form of Shiva and Avalokiteshvara where Udaipur is a puritan temple. This bas-relief, of marble, depicts the Buddhist deity Avalokiteshvara (the embodiment of the Buddha's compassion) in a stylized seated position; Hindu devotees take it to be Shiva Nataraj, Shiva dancing. This image appears to be of sixteenth century Chamba craftsmanship. It was created to replace the original black stone image of the deity, which became damaged by art looters. This original image is kept beneath the plinth of the shrine. It appears to be of 12th century Kashmiri provenance . Much of the art thieves are active in this remote belt because of neglected gompas and temples.
Before the spread of Tibetan Buddhism and Hinduism, the people were adherents of the religion 'Lung Pe Chhoi', an animistic religion that had some affinities with the Bön religion of Tibet. While the religion flourished, animal and human sacrifices were regularly offered up to the 'Iha', a term that refers to evil spirits residing in the natural world, notably in the old pencil-cedar trees, rocks and caves. Vestiges of the Lung Pe Chhoi religion can be seen in the behaviour of the Lamas, who are believed to possess certain supernatural powers.
The Losar festival (also known as Halda in Lahauli) is celebrated between the months of January and February. The date of celebration is decided by the Lamas. It has the same significance as the Diwali festival of Hinduism, but is celebrated in a Tibetan fashion.
At the start of the festival, two or three persons from every household will come holding burning incense. The burning sticks are then piled into a bonfire. The people will then pray to Shiskar Apa, the goddess of wealth (other name Vasudhara) in the Buddhist religion.
In the Pattan belt of the valley in Lahoul most population follows Hinduism,but counts for 14 percent of the total and they are called swanglas. The fagli festival is celebrated between February and March all over the valley. This festival is a new year festival and closely precedes beginning of tibetian and Chinese calendar. Notable is the Pattan people are the late settlers in the valley around 1500 A.D. and have broad highlights and have distinct language on the likes the central Asians,chamba, pangi, pashtoons and uyghurs. This belt is known for the convergence for chandra and bhaga rivers to form Chenab.
[edit]Tourism
Ki Gompa
The natural scenery and Buddhist monasteries, such as Ki, Dhankar, Shashur, Guru Ghantal and Tayul Gompas, are the main tourist attractions of the region.
One of the most interesting places is the Tabo Monastery, located 45 km from Kaza, Himachal Pradesh, the capital of the Spiti region. This monastery rose to prominence when it celebrated its thousandth year of existence in 1996. It houses a collection of Buddhist scriptures, Buddhist statues and Thangkas. The ancient gompa is finished with mud plaster, and contains several scriptures and documents. Lama Dzangpo heads the gompa here. There is a modern guest house with a dining hall and all facilities are available.
Another famous gompa, Kardang Monastery, is located at an elevation of 3,500 metres across the river, about 8 km from Keylong. Kardang is well connected by the road via the Tandi bridge which is about 14 km from Keylong. Built in the 12th century, this monastery houses a large library of Buddhist literature including the main Kangyur and Tangyur scriptures.
The treacherous weather in Lahaul and Spiti permits visitors to tour only between the months of June to October, when the roads and villages are free of snow and the high passes (Rothang La and Kunzum La) are open. It is possible to access Spiti from Kinnaur (along the Sutlej) all through the year, although the road is sometimes temporarily closed by landslides or avalanches.
Buddhist Monasteries in Spiti: Spiti is one of the important centers of Buddhism in Himachal Pradesh. It is popularly known as the 'land of lamas'. The valley is dotted by numerous Buddhist Monasteries or Gompas that are famous throughout the world and are a favorite of Dalai Lama.
Kye Monastery: Kye Monastery in Spiti is the main research center of the Buddhists in India. Near about 300 lamas are receiving their religious training from here. It is oldest and biggest monastery in Spiti. It houses the rare painting and beautiful scriptures of Buddha and other gods and goddess. You may also find rare 'Thangka' paintings and ancient musical instruments 'trumpets, cymbals, and drums in the monastery.
Tabo Monastery: Perched at an amazing altitude of 3050 meters, Tabo Monastery in the valley of Spiti is often referred to as the 'Ajanta of the Himalayas'. The 10th century Tabo Monastery was founded by the great scholar, Richen Zangpo, and has been declared as the World Heritage Site by UNESCO. The monastery houses more than 6 lamas and contains the rare collection of scriptures, pieces of art, wall paintings -Tankhas and Stucco.
Flora and fauna of Spiti Valley: The valley is blessed with the good population of snow leopards, ibex, Himalayan Brown Bear, Musk Deer, Himalayan Blue Sheep etc. which serves as the boon for the wildlife lovers. There are two important protected areas in the region that are a home to snow leopard and its prey including the Pin Valley National Park and Kibber Wildlife Sanctuary. Surprisingly, due to ardent religious beliefs, people of Spiti do not hunt these wild animals.
Apart from the exotic wildlife, the Valley of Spiti is also known for its amazing wealth of flora and the profusion of wild flowers. Some of the mot common species found here include Causinia thomsonii, Seseli trilobum, Crepis flexuosa, Caragana brevifolia and Krascheninikovia ceratoides. Then there are more than 62 species of medicinal plants found here.
Adventure activities:
To- do-Trials: For trekkers, the Spiti Valley is a paradise, offering challenging treks to explore the new heights of the Himalayas. The treks takes you to the most remote areas including the rugged villages and old Gompas followed by the exotic wildlife trails. Some of the popular trekking routes in the area includes Kaza-Langza-Hikim-Comic-Kaza, Kaza-Ki-Kibber-Gete-Kaza, Kaza-Losar-Kunzum La and Kaza-Tabo-Sumdo-Nako. Please note that you carry all the necessary things before out for the trekking tour to Spiti. Tents, sleeping bags, cooking equipment, heavy woollens and sunglasses are a must.
Skiing: Skiing is the popular adventure sports in Spiti and is popular in India from the past few years. The amazing snow clad mountains with the added advantage of inspiring heights are enough to allure the adventure spirits of the avid skier, providing all the thrill and fun attracted to the sport. People from all around the globe come to experience this enthralling adventure activity.
Yak Safari: The most exciting of all adventure activities in Spiti is the Yak safari. You can hire the Yak to see the flora and fauna of trans-Himalayan desert. It is, in fact, the lifetime opportunity that you won't find anywhere else so easily. Apart from this, horse safaris are also conducted in this area.
Sources en.wikipedia.org/wiki/Lahaul_and_Spiti_district
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To protect my work i load pictures only on flickr and they are in web compatible resolutions only.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.
Groups i administer on facebook and flickr (1000 plus members allready in few months )
ART OF PHOTOGRAPHY & WORLD THROUGH THE EYES OF SERIOUS PHOTOGRAPHERS on facebook
www.facebook.com/group.php?gid=111942842150274
HIMACHAL Kullu Manali, Sundernagar Mandi, Dharamsala,Shimla,Lahaul Spiti12
www.facebook.com/group.php?gid=234474081858
ART OF PHOTOGRAPHY & WORLD THROUGH SERIOUS PHOTOGRAPHERS EYES
www.flickr.com/groups/prodigious/
I intent to publish in near future the TRAVEL PHOTOBOOKS on
Landscapes in 6 Continents (Title 1- Stupendous Landscapes across 6 Continents) ,
Wonders of World (Title 2 - "Ancient and New 7 Wonders of World from a Himalayan Photographers Eye") ,
28 UNESCO World Heritage Sites in India (Title 3 -"All 28 UNESCO World Heritage Sites in India") ,
Himalayas in India, Nepal, China, Tibet & Bhutan (Title 4 -"Stupendous Himalayas"),
UNESCO Interesting World Heritage Sites across globe ( Title 5 - "Best of UNESCO World Heritage Sites") ,
Himachal Pradesh (Title 6 - "Unforgettable Himachal Pradesh" Photostories by SunDeep® Bhardwaj sundeepkullu.com)
I do not allow downloading of my images and they are digitally watermarked with Digimarc (DMRC) which makes it easier for me to identify any unauthorised party using the across web or any media. Even if my work is downloaded in full or in part Digimarc is capable of tracing the use of images across web or any other media. Due to previous copyright infringement by parties not authorised in written by me, i have penalised parties using my images without my permisision. I stock my photos on my official website sundeepkullu.com and flickr (the world's best photography website for professionals amateurs and serious photographers as well as photo admirers) in web compatible resolutions only with no permissions to download or use my pictures in any kind of media without prior written permission from me. Thanks for your understanding.
Thanks for your LIKES and COMMENTS and VISITING
WORLD IS MY STUDIO "I live with one vision to create things that would outlast me. I discovered photography as a means for me to connect with my innerself"........... SunDeep® Bhardwaj Kullu
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Lahaul and Spiti district
The district of Lahaul-Spiti in the Indian state of Himachal Pradesh consists of the two formerly separate districts of Lahaul and Spiti. The present administrative centre is Keylong in Lahaul. Before the two districts were merged, Kardang was the capital of Lahaul, and Dhankar the capital of Spiti.
Kunzum la or the Kunzum Pass (altitude 4,551 m; 14,931 ft) is the entrance pass to the Spiti Valley from Lahaul. It is 21 km from Chandra Tal.[1] This district is connected to Manali through the Rohtang Pass. To the south, Spiti ends 24 km from Tabo, at the Pare chu gorge where the road enters Kinnaur and joins with National Highway No. 22.[2]
The two valleys are quite different in character. Spiti is more barren and difficult to cross, with an average elevation of the valley floor of 4,270 m (14,009 ft). It is enclosed between lofty ranges, with the Spiti river rushing out of a gorge in the southeast to meet the Sutlej River. It is a typical mountain desert area with an average annual rainfall of only 170 mm (6.7 inches).[3]
Flora and fauna
Lahaul valley in winter
Mountain peak in Lahaul and Spiti district
The harsh conditions of Lahaul permit only scattered tufts of hardy grasses and shrubs to grow, even below 4,000 metres. Glacier lines are usually found at 5,000 metres.
Animals such as yaks and dzos roam across the wild Lingti plains. However, over-hunting and a decrease in food supplies has led to a large decrease in the population of the Tibetan antelope, argali, kiangs, musk deer, and snow leopards in these regions, reducing them to the status of endangered species. However, in the Lahaul valley, one can see ibex, brown bears, foxes and snow leopards during winter.
[edit]People
Mother and child in near Gandhola Monastery. 2004
The language, culture, and populations of Lahaul and Spiti are closely related. Generally the Lahaulis are of Tibetan and Indo-Aryan descent, while the Spiti Bhotia are more similar to the Tibetans, owing to their proximity to Tibet. Fairer skin and hazel-colored eyes are commonly seen among the Lahaulis.
The languages of both the Lahauli and Spiti Bhutia belong to the Tibetan family. They are very similar to the Ladakhi and Tibetans culturally, as they had been placed under the rule of the Guge and Ladakh kingdoms at occasional intervals.
Among the Lahaulis, the family acts as the basic unit of kinship. The extended family system is common, evolved from the polyandric system of the past. The family is headed by a senior male member, known as the Yunda, while his wife, known as the Yundamo, attains authority by being the oldest member in the generation. The clan system, also known as Rhus, plays another major role in the Lahauli society.
The Spiti Bhutia community has an inheritance system that is otherwise unique to the Tibetans. Upon the death of both parents, only the eldest son will inherit the family property, while the eldest daughter inherits the mother's jewellery, and the younger siblings inherit nothing. Men usually fall back on the social security system of the Trans-Himalayan Gompas.
[edit]Lifestyle
The lifestyles of the Lahauli and Spiti Bhotia are similar, owing to their proximity. Polyandry was widely practiced by the Lahaulis in the past, although this practice has been dying out. The Spiti Bhutia do not generally practice polyandry any more, although it is accepted in a few isolated regions.
Divorces are accomplished by a simple ceremony performed in the presence of village elders. Divorce can be sought by either partner. The husband has to pay compensation to his ex-wife if she does not remarry. However, this is uncommon among the Lahaulis.
Agriculture is the main source of livelihood. Potato farming is common. Occupations include animal husbandry, working in government programs, government services, and other businesses and crafts that include weaving. Houses are constructed in the Tibetan architectural style, as the land in Lahul and Spiti is mountainous and quite prone to earthquakes.
[edit]Religion
Kunzum Pass between Lahul & Spiti
Ki-Gompa Spiti
Most of the Lahaulis follow a combination of Hinduism and Tibetan Buddhism of the Drukpa Kagyu order, while the Spiti Bhotia follow Tibetan Buddhism of the Gelugpa order. Within Lahoul/swangla, the Baralacha-La region had the strongest Buddhist influence, owing to its close proximity to Spiti. Lahoul/swangla has temples such as Triloknath , where pilgrims worship a certain god in different manifestations, notably in the form of Shiva and Avalokiteshvara where Udaipur is a puritan temple. This bas-relief, of marble, depicts the Buddhist deity Avalokiteshvara (the embodiment of the Buddha's compassion) in a stylized seated position; Hindu devotees take it to be Shiva Nataraj, Shiva dancing. This image appears to be of sixteenth century Chamba craftsmanship. It was created to replace the original black stone image of the deity, which became damaged by art looters. This original image is kept beneath the plinth of the shrine. It appears to be of 12th century Kashmiri provenance . Much of the art thieves are active in this remote belt because of neglected gompas and temples.
Before the spread of Tibetan Buddhism and Hinduism, the people were adherents of the religion 'Lung Pe Chhoi', an animistic religion that had some affinities with the Bön religion of Tibet. While the religion flourished, animal and human sacrifices were regularly offered up to the 'Iha', a term that refers to evil spirits residing in the natural world, notably in the old pencil-cedar trees, rocks and caves. Vestiges of the Lung Pe Chhoi religion can be seen in the behaviour of the Lamas, who are believed to possess certain supernatural powers.
The Losar festival (also known as Halda in Lahauli) is celebrated between the months of January and February. The date of celebration is decided by the Lamas. It has the same significance as the Diwali festival of Hinduism, but is celebrated in a Tibetan fashion.
At the start of the festival, two or three persons from every household will come holding burning incense. The burning sticks are then piled into a bonfire. The people will then pray to Shiskar Apa, the goddess of wealth (other name Vasudhara) in the Buddhist religion.
In the Pattan belt of the valley in Lahoul most population follows Hinduism,but counts for 14 percent of the total and they are called swanglas. The fagli festival is celebrated between February and March all over the valley. This festival is a new year festival and closely precedes beginning of tibetian and Chinese calendar. Notable is the Pattan people are the late settlers in the valley around 1500 A.D. and have broad highlights and have distinct language on the likes the central Asians,chamba, pangi, pashtoons and uyghurs. This belt is known for the convergence for chandra and bhaga rivers to form Chenab.
[edit]Tourism
Ki Gompa
The natural scenery and Buddhist monasteries, such as Ki, Dhankar, Shashur, Guru Ghantal and Tayul Gompas, are the main tourist attractions of the region.
One of the most interesting places is the Tabo Monastery, located 45 km from Kaza, Himachal Pradesh, the capital of the Spiti region. This monastery rose to prominence when it celebrated its thousandth year of existence in 1996. It houses a collection of Buddhist scriptures, Buddhist statues and Thangkas. The ancient gompa is finished with mud plaster, and contains several scriptures and documents. Lama Dzangpo heads the gompa here. There is a modern guest house with a dining hall and all facilities are available.
Another famous gompa, Kardang Monastery, is located at an elevation of 3,500 metres across the river, about 8 km from Keylong. Kardang is well connected by the road via the Tandi bridge which is about 14 km from Keylong. Built in the 12th century, this monastery houses a large library of Buddhist literature including the main Kangyur and Tangyur scriptures.
The treacherous weather in Lahaul and Spiti permits visitors to tour only between the months of June to October, when the roads and villages are free of snow and the high passes (Rothang La and Kunzum La) are open. It is possible to access Spiti from Kinnaur (along the Sutlej) all through the year, although the road is sometimes temporarily closed by landslides or avalanches.
Buddhist Monasteries in Spiti: Spiti is one of the important centers of Buddhism in Himachal Pradesh. It is popularly known as the 'land of lamas'. The valley is dotted by numerous Buddhist Monasteries or Gompas that are famous throughout the world and are a favorite of Dalai Lama.
Kye Monastery: Kye Monastery in Spiti is the main research center of the Buddhists in India. Near about 300 lamas are receiving their religious training from here. It is oldest and biggest monastery in Spiti. It houses the rare painting and beautiful scriptures of Buddha and other gods and goddess. You may also find rare 'Thangka' paintings and ancient musical instruments 'trumpets, cymbals, and drums in the monastery.
Tabo Monastery: Perched at an amazing altitude of 3050 meters, Tabo Monastery in the valley of Spiti is often referred to as the 'Ajanta of the Himalayas'. The 10th century Tabo Monastery was founded by the great scholar, Richen Zangpo, and has been declared as the World Heritage Site by UNESCO. The monastery houses more than 6 lamas and contains the rare collection of scriptures, pieces of art, wall paintings -Tankhas and Stucco.
Flora and fauna of Spiti Valley: The valley is blessed with the good population of snow leopards, ibex, Himalayan Brown Bear, Musk Deer, Himalayan Blue Sheep etc. which serves as the boon for the wildlife lovers. There are two important protected areas in the region that are a home to snow leopard and its prey including the Pin Valley National Park and Kibber Wildlife Sanctuary. Surprisingly, due to ardent religious beliefs, people of Spiti do not hunt these wild animals.
Apart from the exotic wildlife, the Valley of Spiti is also known for its amazing wealth of flora and the profusion of wild flowers. Some of the mot common species found here include Causinia thomsonii, Seseli trilobum, Crepis flexuosa, Caragana brevifolia and Krascheninikovia ceratoides. Then there are more than 62 species of medicinal plants found here.
Adventure activities:
To- do-Trials: For trekkers, the Spiti Valley is a paradise, offering challenging treks to explore the new heights of the Himalayas. The treks takes you to the most remote areas including the rugged villages and old Gompas followed by the exotic wildlife trails. Some of the popular trekking routes in the area includes Kaza-Langza-Hikim-Comic-Kaza, Kaza-Ki-Kibber-Gete-Kaza, Kaza-Losar-Kunzum La and Kaza-Tabo-Sumdo-Nako. Please note that you carry all the necessary things before out for the trekking tour to Spiti. Tents, sleeping bags, cooking equipment, heavy woollens and sunglasses are a must.
Skiing: Skiing is the popular adventure sports in Spiti and is popular in India from the past few years. The amazing snow clad mountains with the added advantage of inspiring heights are enough to allure the adventure spirits of the avid skier, providing all the thrill and fun attracted to the sport. People from all around the globe come to experience this enthralling adventure activity.
Yak Safari: The most exciting of all adventure activities in Spiti is the Yak safari. You can hire the Yak to see the flora and fauna of trans-Himalayan desert. It is, in fact, the lifetime opportunity that you won't find anywhere else so easily. Apart from this, horse safaris are also conducted in this area.
Sources en.wikipedia.org/wiki/Lahaul_and_Spiti_district
IF YOU LIKE AND WANT TO COMMENT ANY PICTURES IN SDBWP (SunDeep Bhardwaj World Photography)
PLEASE SIGN IN TO FLICKR (using yahoo ID) AND COMMENT ONLY THERE
Thanks for your understanding.
sundeepkullu.com is my official website and if you LIKE to COMMENT go to sundeepkullu.com and click on photos you like to COMMENT by clicking thumbnails under different pages or alternatively by visiting flickr.com/photos/wittysam. You may need to sign-in to flickr.com with your Yahoo account to comment on my flickr Photostream where i stock my World Tour Pictures shot in 50+ Countries 200+ Destinations across 6 Continents.
To protect my work i load pictures only on flickr and they are in web compatible resolutions only.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.
Groups i administer on facebook and flickr (1000 plus members allready in few months )
ART OF PHOTOGRAPHY & WORLD THROUGH THE EYES OF SERIOUS PHOTOGRAPHERS on facebook
www.facebook.com/group.php?gid=111942842150274
HIMACHAL Kullu Manali, Sundernagar Mandi, Dharamsala,Shimla,Lahaul Spiti12
www.facebook.com/group.php?gid=234474081858
ART OF PHOTOGRAPHY & WORLD THROUGH SERIOUS PHOTOGRAPHERS EYES
www.flickr.com/groups/prodigious/
I intent to publish in near future the TRAVEL PHOTOBOOKS on
Landscapes in 6 Continents (Title 1- Stupendous Landscapes across 6 Continents) ,
Wonders of World (Title 2 - "Ancient and New 7 Wonders of World from a Himalayan Photographers Eye") ,
28 UNESCO World Heritage Sites in India (Title 3 -"All 28 UNESCO World Heritage Sites in India") ,
Himalayas in India, Nepal, China, Tibet & Bhutan (Title 4 -"Stupendous Himalayas"),
UNESCO Interesting World Heritage Sites across globe ( Title 5 - "Best of UNESCO World Heritage Sites") ,
Himachal Pradesh (Title 6 - "Unforgettable Himachal Pradesh" Photostories by SunDeep® Bhardwaj sundeepkullu.com)
I do not allow downloading of my images and they are digitally watermarked with Digimarc (DMRC) which makes it easier for me to identify any unauthorised party using the across web or any media. Even if my work is downloaded in full or in part Digimarc is capable of tracing the use of images across web or any other media. Due to previous copyright infringement by parties not authorised in written by me, i have penalised parties using my images without my permisision. I stock my photos on my official website sundeepkullu.com and flickr (the world's best photography website for professionals amateurs and serious photographers as well as photo admirers) in web compatible resolutions only with no permissions to download or use my pictures in any kind of media without prior written permission from me. Thanks for your understanding.
Thanks for your LIKES and COMMENTS and VISITING
WORLD IS MY STUDIO "I live with one vision to create things that would outlast me. I discovered photography as a means for me to connect with my innerself"........... SunDeep® Bhardwaj Kullu
SDBWP™
We spent a day in the Ghost Town of Kolmanskop, exploring the abandoned buildings.
Some information about the area:
Kolmanskop is Namibia's most famous ghost town, and is situated in the Sperrgebiet, (forbidden territory) a few kilometers inland from the port of Luderitz. In 1908, the railway worker Zacharias Lewala found a sparkling stone amongst the sand he was shoveling away from the railway line, near Kolmanskop. His supervisor August Stauch, was convinced it was a diamond and when this was confirmed, the news spread like wildfire, sparking a huge, frantic diamond rush and causing fortune hunters to converge in droves on Kolmanskop.
The town soon developed, becoming a bustling little centre and providing shelter for workers from the harsh environment of the Namib Desert. Large, elegant houses were built and it soon resembled a German town, complete with an impressive array of amenities including; a hospital, ballroom, power station, school, 4-lane skittle alley, theatre and sports hall, casino, ice factory and the first x-ray station in the southern hemisphere. Fresh meat could be purchased at the butcher's, there was a bakery, furniture factory, a public playground and even a swimming pool! At the time, there was also a railway line to Luderitz.
The development of Kolmanskop reached its pinnacle in the 1920's, but the town declined after World War 1, when diamond prices crashed. At this time approximately 300 German adults, 40 children and 800 Owambo contract workers lived in the town. In spite of, or probably because of, the isolation and bleakness of the surrounding desert, Kolmanskop developed into a lively little haven of German culture, offering entertainment and recreation to suit the requirements of the affluent colonialists.
Unfortunately for Kolmanskop and it's inhabitants, richer diamond deposits were discovered further south, and operations were moved to Oranjemund. Within a span of 40 years Kolmanskop lived, flourished and died. Today the ghost town's crumbling ruins bear little resemblance to its former glory. The stately homes have been nearly demolished by the wind, and are gradually becoming enveloped by encroaching sand dunes. In 1980, the mining company De Beers, restored a number of buildings, and established and interesting museum, which has now become a tourist attraction.
Film buffs might be interested to know, that in 2000, the film, The King Is Alive, was filmed in Kolmanskop, with the town being utilized as the film's main setting. The town was also used as one of the locations in the 1993 film, Dust Devil.
This photo displays an authentic Italian pizzeria demonstrating cultural baking practices utilizing beautifully built brick ovens. While many of the varying cultures’ authentic food preparation styles have been modified and modernized, some ethnicity shines through the specific restaurant pictured above. For example, the Iron Gate Pizzeria bakes with an old world style wood-fired brick oven, similar to those used by Italian pizza chefs. The brick oven is a symbol of the Italian’s influence on American cooking habits. It is said that wood fired brick ovens and pizza have been with us since the dawn of civilization. Excavations of virtually every ancient civilization have uncovered the modern form of the brick oven, which was found, initially, in ancient Rome. While the common pizza descends from a very strong Italian influence, it bears the mark of many civilizations around the Mediterranean, starting with the Ancient Greeks who ate flat, baked bread and stretching to the Spaniards who had been to Peru and brought tomatoes back. These ovens are still used throughout Europe for cooking large quantities of bread. The brick ovens found in Pompeii, which still houses 33 uncovered brick ovens, are in excellent condition and could be used for baking in out present day with only small renovations, which demonstrates excellent engineering skill. The best attributes of the brick oven are it‘s dome shape, insulation, and vent. Medieval brick ovens are scattered across Europe, some varying from the original instrument from Rome. The actual word pizza emerged some time in the middle ages among aristocracy. The varying requirements to cook a pizza at a commercial bakery, pizzeria, or homeowner created a split in brick oven design in the late 18th century. The brick oven is not used by many pizzerias in the U.S. today. The brick ovens, although offering a delicious taste, cause the temperature to rise to a highly uncomfortable number. Few restaurants, however, show their roots. In fact, the world’s first Pizzeria to open in 1830, Antica Pizzeria Port’Alba, is still in business today in Naples. The pizza in this photo was hand tossed, sprinkled with cheese the employees grated, smothered with an authentic pizza sauce, topped with pepperonis, and put in the brick oven to bake. Pizza is viewed by most to be as symbolic of American culture as apple pie. This is unfortunately not true. Americans cannot take credit for this delicious favorite. Pizza has a strong Italian background. The unique flavor of these brick oven pizzas is unmatched.
Jeffrey A. Sadowski. 1997. "Italian Cuisine: the gourmet's companion". New York: J. Wiley.
Donna R. Gabaccia. 1998. "We Are What We Eat: Ethnic Food and the Making of Americans". Cambridge, Massachusetts: Harvard University Press.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
Saebyeol Oreum, Aewoleup, Jeju Island, South Korea
We arrived at the car park in the afternoon and fully utilized the 2h by taking nap, having some snacks and drinks at the food truck, and freshen up when our alarm started to make noise.
We were simply naive thought of only 1 entrance and 1 exit, where the entrance located at the west and the exit located at the east. Seeing people entering from the west so without thinking twice we just follow the crowd.
It was a tough effort to get all the way to the top, though we been fooled by the speculation photos from internet where the scenery shooting needless to hike to the peak, it was just located at the east entrance.
The 519.3m elevation isn't a joke at all, we really have to take a few rest points in order to crawl to the peak. You can see how steep it is [www.instagram.com/p/B2trab4F_Ju/], not sure it was the air was getting thinner, I still remembered the way I panting were way beyond suffered than my cycling sufferfest.
The 2h waiting at the car park pay off, though nothing amazing or breathtaking scene at the peak, just a rock and the nature surroundings. Seeing some ladies shooting Music Video there with professional gears and drones, they were singing acapella style.
Before going down hence noticed a spot where perfectly fit for the sunset portrait shooting, as usual having wifey to secure the place so that I can position myself and do my own thing after when gears set up nicely. These shots were rather quick, because we have only halfway covered, still have remaining footstep required for us to get ourselves down to the car park.
We were looking at the scene where photos speculated all over on the internet, while approaching the car park I then pointed out and double confirm with our friend and yes, it was indeed just at the left entrance or exit. But that area not really shooting friendly because it covered by plants, pretty hard to walk in, not to mention might trigger some wild animals.
Personally this series of shots filed with the heartwarming ambiance, when we both caught our breath and witness the sunset from the peak of Saebyeol Oreum. Somehow being lucky still able to get the shots I wanted, didn't know it turns out beautifully, making this trip worth despite our legs nearly malfunction.
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#d3s
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Utilizing a P90 magazine in the stock itself, this long-barreled but compact SMG is both reliable and accurate.
Charlie Roberts, owner of Roberts Farms focuses on utilizing conservation practices developed with the U.S. Department of Agriculture (USDA) Farm Production and Conservation (FPAC) Natural Resources Conservation Service (NRCS) to utilizes cover crops to prevent sheet, rill, and ephemeral gullies; and implementing soil health principals that improve soil health of his land, in Lauderdale County, TN, on Sept 20, 2019.
Cover Crop (Practice Code 340)
Cover crop is growing a crop of grass, small grain, or legumes primarily for seasonal protection and soil improvement. This practice is used to control erosion, add fertility and organic material to the soil, improve soil tilth, increase infiltration and aeration of the soil, and improve overall soil health. The practice is also used to increase populations of bees for pollination purposes. Cover and green manure crops have beneficial effects on water quantity and quality. Cover crops have a filtering effect on movement of sediment, pathogens, and dissolved and sediment-attached pollutants.
Soil Health Principles
Charlie Roberts is utilizing the four basic soil health principles to improve soil health and sustainability on his farm:
1. Use plant diversity to increase diversity in the soil.
2. Manage soils more by disturbing them less.
3. Keep plants growing throughout the year to feed the soil.
4. Keep the soil covered as much as possible.
NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat. As the USDA’s primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science. And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.
Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.
The agencies and services supporting FPAC are Farm Service Agency (FSA), NRCS, and Risk Management Agency (RMA).
For more information please see usda.gov
The companion video can be seen at
youtu.be/NLoEkcbsJLo
USDA Photo by Lance Cheung.
Fish, any of approximately 34,000 species of vertebrate animals (phylum Chordata) found in the fresh and salt waters of the world. Living species range from the primitive jawless lampreys and hagfishes through the cartilaginous sharks, skates, and rays to the abundant and diverse bony fishes. Most fish species are cold-blooded; however, one species, the opah (Lampris guttatus), is warm-blooded.
The term fish is applied to a variety of vertebrates of several evolutionary lines. It describes a life-form rather than a taxonomic group. As members of the phylum Chordata, fish share certain features with other vertebrates. These features are gill slits at some point in the life cycle, a notochord, or skeletal supporting rod, a dorsal hollow nerve cord, and a tail. Living fishes represent some five classes, which are as distinct from one another as are the four classes of familiar air-breathing animals—amphibians, reptiles, birds, and mammals. For example, the jawless fishes (Agnatha) have gills in pouches and lack limb girdles. Extant agnathans are the lampreys and the hagfishes. As the name implies, the skeletons of fishes of the class Chondrichthyes (from chondr, “cartilage,” and ichthyes, “fish”) are made entirely of cartilage. Modern fish of this class lack a swim bladder, and their scales and teeth are made up of the same placoid material. Sharks, skates, and rays are examples of cartilaginous fishes. The bony fishes are by far the largest class. Examples range from the tiny seahorse to the 450-kg (1,000-pound) blue marlin, from the flattened soles and flounders to the boxy puffers and ocean sunfishes. Unlike the scales of the cartilaginous fishes, those of bony fishes, when present, grow throughout life and are made up of thin overlapping plates of bone. Bony fishes also have an operculum that covers the gill slits.
The study of fishes, the science of ichthyology, is of broad importance. Fishes are of interest to humans for many reasons, the most important being their relationship with and dependence on the environment. A more obvious reason for interest in fishes is their role as a moderate but important part of the world’s food supply. This resource, once thought unlimited, is now realized to be finite and in delicate balance with the biological, chemical, and physical factors of the aquatic environment. Overfishing, pollution, and alteration of the environment are the chief enemies of proper fisheries management, both in fresh waters and in the ocean. (For a detailed discussion of the technology and economics of fisheries, see commercial fishing.) Another practical reason for studying fishes is their use in disease control. As predators on mosquito larvae, they help curb malaria and other mosquito-borne diseases.
Fishes are valuable laboratory animals in many aspects of medical and biological research. For example, the readiness of many fishes to acclimate to captivity has allowed biologists to study behaviour, physiology, and even ecology under relatively natural conditions. Fishes have been especially important in the study of animal behaviour, where research on fishes has provided a broad base for the understanding of the more flexible behaviour of the higher vertebrates. The zebra fish is used as a model in studies of gene expression.
There are aesthetic and recreational reasons for an interest in fishes. Millions of people keep live fishes in home aquariums for the simple pleasure of observing the beauty and behaviour of animals otherwise unfamiliar to them. Aquarium fishes provide a personal challenge to many aquarists, allowing them to test their ability to keep a small section of the natural environment in their homes. Sportfishing is another way of enjoying the natural environment, also indulged in by millions of people every year. Interest in aquarium fishes and sportfishing supports multimillion-dollar industries throughout the world.
Fishes have been in existence for more than 450 million years, during which time they have evolved repeatedly to fit into almost every conceivable type of aquatic habitat. In a sense, land vertebrates are simply highly modified fishes: when fishes colonized the land habitat, they became tetrapod (four-legged) land vertebrates. The popular conception of a fish as a slippery, streamlined aquatic animal that possesses fins and breathes by gills applies to many fishes, but far more fishes deviate from that conception than conform to it. For example, the body is elongate in many forms and greatly shortened in others; the body is flattened in some (principally in bottom-dwelling fishes) and laterally compressed in many others; the fins may be elaborately extended, forming intricate shapes, or they may be reduced or even lost; and the positions of the mouth, eyes, nostrils, and gill openings vary widely. Air breathers have appeared in several evolutionary lines.
Many fishes are cryptically coloured and shaped, closely matching their respective environments; others are among the most brilliantly coloured of all organisms, with a wide range of hues, often of striking intensity, on a single individual. The brilliance of pigments may be enhanced by the surface structure of the fish, so that it almost seems to glow. A number of unrelated fishes have actual light-producing organs. Many fishes are able to alter their coloration—some for the purpose of camouflage, others for the enhancement of behavioral signals.
Fishes range in adult length from less than 10 mm (0.4 inch) to more than 20 metres (60 feet) and in weight from about 1.5 grams (less than 0.06 ounce) to many thousands of kilograms. Some live in shallow thermal springs at temperatures slightly above 42 °C (100 °F), others in cold Arctic seas a few degrees below 0 °C (32 °F) or in cold deep waters more than 4,000 metres (13,100 feet) beneath the ocean surface. The structural and, especially, the physiological adaptations for life at such extremes are relatively poorly known and provide the scientifically curious with great incentive for study.
Almost all natural bodies of water bear fish life, the exceptions being very hot thermal ponds and extremely salt-alkaline lakes, such as the Dead Sea in Asia and the Great Salt Lake in North America. The present distribution of fishes is a result of the geological history and development of Earth as well as the ability of fishes to undergo evolutionary change and to adapt to the available habitats. Fishes may be seen to be distributed according to habitat and according to geographical area. Major habitat differences are marine and freshwater. For the most part, the fishes in a marine habitat differ from those in a freshwater habitat, even in adjacent areas, but some, such as the salmon, migrate from one to the other. The freshwater habitats may be seen to be of many kinds. Fishes found in mountain torrents, Arctic lakes, tropical lakes, temperate streams, and tropical rivers will all differ from each other, both in obvious gross structure and in physiological attributes. Even in closely adjacent habitats where, for example, a tropical mountain torrent enters a lowland stream, the fish fauna will differ. The marine habitats can be divided into deep ocean floors (benthic), mid-water oceanic (bathypelagic), surface oceanic (pelagic), rocky coast, sandy coast, muddy shores, bays, estuaries, and others. Also, for example, rocky coastal shores in tropical and temperate regions will have different fish faunas, even when such habitats occur along the same coastline.
Although much is known about the present geographical distribution of fishes, far less is known about how that distribution came about. Many parts of the fish fauna of the fresh waters of North America and Eurasia are related and undoubtedly have a common origin. The faunas of Africa and South America are related, extremely old, and probably an expression of the drifting apart of the two continents. The fauna of southern Asia is related to that of Central Asia, and some of it appears to have entered Africa. The extremely large shore-fish faunas of the Indian and tropical Pacific oceans comprise a related complex, but the tropical shore fauna of the Atlantic, although containing Indo-Pacific components, is relatively limited and probably younger. The Arctic and Antarctic marine faunas are quite different from each other. The shore fauna of the North Pacific is quite distinct, and that of the North Atlantic more limited and probably younger. Pelagic oceanic fishes, especially those in deep waters, are similar the world over, showing little geographical isolation in terms of family groups. The deep oceanic habitat is very much the same throughout the world, but species differences do exist, showing geographical areas determined by oceanic currents and water masses.
All aspects of the life of a fish are closely correlated with adaptation to the total environment, physical, chemical, and biological. In studies, all the interdependent aspects of fish, such as behaviour, locomotion, reproduction, and physical and physiological characteristics, must be taken into account.
Correlated with their adaptation to an extremely wide variety of habitats is the extremely wide variety of life cycles that fishes display. The great majority hatch from relatively small eggs a few days to several weeks or more after the eggs are scattered in the water. Newly hatched young are still partially undeveloped and are called larvae until body structures such as fins, skeleton, and some organs are fully formed. Larval life is often very short, usually less than a few weeks, but it can be very long, some lampreys continuing as larvae for at least five years. Young and larval fishes, before reaching sexual maturity, must grow considerably, and their small size and other factors often dictate that they live in a habitat different than that of the adults. For example, most tropical marine shore fishes have pelagic larvae. Larval food also is different, and larval fishes often live in shallow waters, where they may be less exposed to predators.
After a fish reaches adult size, the length of its life is subject to many factors, such as innate rates of aging, predation pressure, and the nature of the local climate. The longevity of a species in the protected environment of an aquarium may have nothing to do with how long members of that species live in the wild. Many small fishes live only one to three years at the most. In some species, however, individuals may live as long as 10 or 20 or even 100 years.
Fish behaviour is a complicated and varied subject. As in almost all animals with a central nervous system, the nature of a response of an individual fish to stimuli from its environment depends upon the inherited characteristics of its nervous system, on what it has learned from past experience, and on the nature of the stimuli. Compared with the variety of human responses, however, that of a fish is stereotyped, not subject to much modification by “thought” or learning, and investigators must guard against anthropomorphic interpretations of fish behaviour.
Fishes perceive the world around them by the usual senses of sight, smell, hearing, touch, and taste and by special lateral line water-current detectors. In the few fishes that generate electric fields, a process that might best be called electrolocation aids in perception. One or another of these senses often is emphasized at the expense of others, depending upon the fish’s other adaptations. In fishes with large eyes, the sense of smell may be reduced; others, with small eyes, hunt and feed primarily by smell (such as some eels).
Specialized behaviour is primarily concerned with the three most important activities in the fish’s life: feeding, reproduction, and escape from enemies. Schooling behaviour of sardines on the high seas, for instance, is largely a protective device to avoid enemies, but it is also associated with and modified by their breeding and feeding requirements. Predatory fishes are often solitary, lying in wait to dart suddenly after their prey, a kind of locomotion impossible for beaked parrot fishes, which feed on coral, swimming in small groups from one coral head to the next. In addition, some predatory fishes that inhabit pelagic environments, such as tunas, often school.
Sleep in fishes, all of which lack true eyelids, consists of a seemingly listless state in which the fish maintains its balance but moves slowly. If attacked or disturbed, most can dart away. A few kinds of fishes lie on the bottom to sleep. Most catfishes, some loaches, and some eels and electric fishes are strictly nocturnal, being active and hunting for food during the night and retiring during the day to holes, thick vegetation, or other protective parts of the environment.
Communication between members of a species or between members of two or more species often is extremely important, especially in breeding behaviour (see below Reproduction). The mode of communication may be visual, as between the small so-called cleaner fish and a large fish of a very different species. The larger fish often allows the cleaner to enter its mouth to remove gill parasites. The cleaner is recognized by its distinctive colour and actions and therefore is not eaten, even if the larger fish is normally a predator. Communication is often chemical, signals being sent by specific chemicals called pheromones.
Many fishes have a streamlined body and swim freely in open water. Fish locomotion is closely correlated with habitat and ecological niche (the general position of the animal to its environment).
Many fishes in both marine and fresh waters swim at the surface and have mouths adapted to feed best (and sometimes only) at the surface. Often such fishes are long and slender, able to dart at surface insects or at other surface fishes and in turn to dart away from predators; needlefishes, halfbeaks, and topminnows (such as killifish and mosquito fish) are good examples. Oceanic flying fishes escape their predators by gathering speed above the water surface, with the lower lobe of the tail providing thrust in the water. They then glide hundreds of yards on enlarged, winglike pectoral and pelvic fins. South American freshwater flying fishes escape their enemies by jumping and propelling their strongly keeled bodies out of the water.
So-called mid-water swimmers, the most common type of fish, are of many kinds and live in many habitats. The powerful fusiform tunas and the trouts, for example, are adapted for strong, fast swimming, the tunas to capture prey speedily in the open ocean and the trouts to cope with the swift currents of streams and rivers. The trout body form is well adapted to many habitats. Fishes that live in relatively quiet waters such as bays or lake shores or slow rivers usually are not strong, fast swimmers but are capable of short, quick bursts of speed to escape a predator. Many of these fishes have their sides flattened, examples being the sunfish and the freshwater angelfish of aquarists. Fish associated with the bottom or substrate usually are slow swimmers. Open-water plankton-feeding fishes almost always remain fusiform and are capable of rapid, strong movement (for example, sardines and herrings of the open ocean and also many small minnows of streams and lakes).
Bottom-living fishes are of many kinds and have undergone many types of modification of their body shape and swimming habits. Rays, which evolved from strong-swimming mid-water sharks, usually stay close to the bottom and move by undulating their large pectoral fins. Flounders live in a similar habitat and move over the bottom by undulating the entire body. Many bottom fishes dart from place to place, resting on the bottom between movements, a motion common in gobies. One goby relative, the mudskipper, has taken to living at the edge of pools along the shore of muddy mangrove swamps. It escapes its enemies by flipping rapidly over the mud, out of the water. Some catfishes, synbranchid eels, the so-called climbing perch, and a few other fishes venture out over damp ground to find more promising waters than those that they left. They move by wriggling their bodies, sometimes using strong pectoral fins; most have accessory air-breathing organs. Many bottom-dwelling fishes live in mud holes or rocky crevices. Marine eels and gobies commonly are found in such habitats and for the most part venture far beyond their cavelike homes. Some bottom dwellers, such as the clingfishes (Gobiesocidae), have developed powerful adhesive disks that enable them to remain in place on the substrate in areas such as rocky coasts, where the action of the waves is great.
The methods of reproduction in fishes are varied, but most fishes lay a large number of small eggs, fertilized and scattered outside of the body. The eggs of pelagic fishes usually remain suspended in the open water. Many shore and freshwater fishes lay eggs on the bottom or among plants. Some have adhesive eggs. The mortality of the young and especially of the eggs is very high, and often only a few individuals grow to maturity out of hundreds, thousands, and in some cases millions of eggs laid.
Males produce sperm, usually as a milky white substance called milt, in two (sometimes one) testes within the body cavity. In bony fishes a sperm duct leads from each testis to a urogenital opening behind the vent or anus. In sharks and rays and in cyclostomes the duct leads to a cloaca. Sometimes the pelvic fins are modified to help transmit the milt to the eggs at the female’s vent or on the substrate where the female has placed them. Sometimes accessory organs are used to fertilize females internally—for example, the claspers of many sharks and rays.
In the females the eggs are formed in two ovaries (sometimes only one) and pass through the ovaries to the urogenital opening and to the outside. In some fishes the eggs are fertilized internally but are shed before development takes place. Members of about a dozen families each of bony fishes (teleosts) and sharks bear live young. Many skates and rays also bear live young. In some bony fishes the eggs simply develop within the female, the young emerging when the eggs hatch (ovoviviparous). Others develop within the ovary and are nourished by ovarian tissues after hatching (viviparous). There are also other methods utilized by fishes to nourish young within the female. In all live-bearers the young are born at a relatively large size and are few in number. In one family of primarily marine fishes, the surfperches from the Pacific coast of North America, Japan, and Korea, the males of at least one species are born sexually mature, although they are not fully grown.
Some fishes are hermaphroditic—an individual producing both sperm and eggs, usually at different stages of its life. Self-fertilization, however, is probably rare.
Successful reproduction and, in many cases, defense of the eggs and the young are assured by rather stereotypical but often elaborate courtship and parental behaviour, either by the male or the female or both. Some fishes prepare nests by hollowing out depressions in the sand bottom (cichlids, for example), build nests with plant materials and sticky threads excreted by the kidneys (sticklebacks), or blow a cluster of mucus-covered bubbles at the water surface (gouramis). The eggs are laid in these structures. Some varieties of cichlids and catfishes incubate eggs in their mouths.
Some fishes, such as salmon, undergo long migrations from the ocean and up large rivers to spawn in the gravel beds where they themselves hatched (anadromous fishes). Some, such as the freshwater eels (family Anguillidae), live and grow to maturity in fresh water and migrate to the sea to spawn (catadromous fishes). Other fishes undertake shorter migrations from lakes into streams, within the ocean, or enter spawning habitats that they do not ordinarily occupy in other ways.
The basic structure and function of the fish body are similar to those of all other vertebrates. The usual four types of tissues are present: surface or epithelial, connective (bone, cartilage, and fibrous tissues, as well as their derivative, blood), nerve, and muscle tissues. In addition, the fish’s organs and organ systems parallel those of other vertebrates.
The typical fish body is streamlined and spindle-shaped, with an anterior head, a gill apparatus, and a heart, the latter lying in the midline just below the gill chamber. The body cavity, containing the vital organs, is situated behind the head in the lower anterior part of the body. The anus usually marks the posterior termination of the body cavity and most often occurs just in front of the base of the anal fin. The spinal cord and vertebral column continue from the posterior part of the head to the base of the tail fin, passing dorsal to the body cavity and through the caudal (tail) region behind the body cavity. Most of the body is of muscular tissue, a high proportion of which is necessitated by swimming. In the course of evolution this basic body plan has been modified repeatedly into the many varieties of fish shapes that exist today.
The skeleton forms an integral part of the fish’s locomotion system, as well as serving to protect vital parts. The internal skeleton consists of the skull bones (except for the roofing bones of the head, which are really part of the external skeleton), the vertebral column, and the fin supports (fin rays). The fin supports are derived from the external skeleton but will be treated here because of their close functional relationship to the internal skeleton. The internal skeleton of cyclostomes, sharks, and rays is of cartilage; that of many fossil groups and some primitive living fishes is mostly of cartilage but may include some bone. In place of the vertebral column, the earliest vertebrates had a fully developed notochord, a flexible stiff rod of viscous cells surrounded by a strong fibrous sheath. During the evolution of modern fishes the rod was replaced in part by cartilage and then by ossified cartilage. Sharks and rays retain a cartilaginous vertebral column; bony fishes have spool-shaped vertebrae that in the more primitive living forms only partially replace the notochord. The skull, including the gill arches and jaws of bony fishes, is fully, or at least partially, ossified. That of sharks and rays remains cartilaginous, at times partially replaced by calcium deposits but never by true bone.
The supportive elements of the fins (basal or radial bones or both) have changed greatly during fish evolution. Some of these changes are described in the section below (Evolution and paleontology). Most fishes possess a single dorsal fin on the midline of the back. Many have two and a few have three dorsal fins. The other fins are the single tail and anal fins and paired pelvic and pectoral fins. A small fin, the adipose fin, with hairlike fin rays, occurs in many of the relatively primitive teleosts (such as trout) on the back near the base of the caudal fin.
The skin of a fish must serve many functions. It aids in maintaining the osmotic balance, provides physical protection for the body, is the site of coloration, contains sensory receptors, and, in some fishes, functions in respiration. Mucous glands, which aid in maintaining the water balance and offer protection from bacteria, are extremely numerous in fish skin, especially in cyclostomes and teleosts. Since mucous glands are present in the modern lampreys, it is reasonable to assume that they were present in primitive fishes, such as the ancient Silurian and Devonian agnathans. Protection from abrasion and predation is another function of the fish skin, and dermal (skin) bone arose early in fish evolution in response to this need. It is thought that bone first evolved in skin and only later invaded the cartilaginous areas of the fish’s body, to provide additional support and protection. There is some argument as to which came first, cartilage or bone, and fossil evidence does not settle the question. In any event, dermal bone has played an important part in fish evolution and has different characteristics in different groups of fishes. Several groups are characterized at least in part by the kind of bony scales they possess.
Scales have played an important part in the evolution of fishes. Primitive fishes usually had thick bony plates or thick scales in several layers of bone, enamel, and related substances. Modern teleost fishes have scales of bone, which, while still protective, allow much more freedom of motion in the body. A few modern teleosts (some catfishes, sticklebacks, and others) have secondarily acquired bony plates in the skin. Modern and early sharks possessed placoid scales, a relatively primitive type of scale with a toothlike structure, consisting of an outside layer of enamel-like substance (vitrodentine), an inner layer of dentine, and a pulp cavity containing nerves and blood vessels. Primitive bony fishes had thick scales of either the ganoid or the cosmoid type. Cosmoid scales have a hard, enamel-like outer layer, an inner layer of cosmine (a form of dentine), and then a layer of vascular bone (isopedine). In ganoid scales the hard outer layer is different chemically and is called ganoin. Under this is a cosminelike layer and then a vascular bony layer. The thin, translucent bony scales of modern fishes, called cycloid and ctenoid (the latter distinguished by serrations at the edges), lack enameloid and dentine layers.
Skin has several other functions in fishes. It is well supplied with nerve endings and presumably receives tactile, thermal, and pain stimuli. Skin is also well supplied with blood vessels. Some fishes breathe in part through the skin, by the exchange of oxygen and carbon dioxide between the surrounding water and numerous small blood vessels near the skin surface.
Skin serves as protection through the control of coloration. Fishes exhibit an almost limitless range of colours. The colours often blend closely with the surroundings, effectively hiding the animal. Many fishes use bright colours for territorial advertisement or as recognition marks for other members of their own species, or sometimes for members of other species. Many fishes can change their colour to a greater or lesser degree, by movement of pigment within the pigment cells (chromatophores). Black pigment cells (melanophores), of almost universal occurrence in fishes, are often juxtaposed with other pigment cells. When placed beneath iridocytes or leucophores (bearing the silvery or white pigment guanine), melanophores produce structural colours of blue and green. These colours are often extremely intense, because they are formed by refraction of light through the needlelike crystals of guanine. The blue and green refracted colours are often relatively pure, lacking the red and yellow rays, which have been absorbed by the black pigment (melanin) of the melanophores. Yellow, orange, and red colours are produced by erythrophores, cells containing the appropriate carotenoid pigments. Other colours are produced by combinations of melanophores, erythrophores, and iridocytes.
The major portion of the body of most fishes consists of muscles. Most of the mass is trunk musculature, the fin muscles usually being relatively small. The caudal fin is usually the most powerful fin, being moved by the trunk musculature. The body musculature is usually arranged in rows of chevron-shaped segments on each side. Contractions of these segments, each attached to adjacent vertebrae and vertebral processes, bends the body on the vertebral joint, producing successive undulations of the body, passing from the head to the tail, and producing driving strokes of the tail. It is the latter that provides the strong forward movement for most fishes.
The digestive system, in a functional sense, starts at the mouth, with the teeth used to capture prey or collect plant foods. Mouth shape and tooth structure vary greatly in fishes, depending on the kind of food normally eaten. Most fishes are predacious, feeding on small invertebrates or other fishes and have simple conical teeth on the jaws, on at least some of the bones of the roof of the mouth, and on special gill arch structures just in front of the esophagus. The latter are throat teeth. Most predacious fishes swallow their prey whole, and the teeth are used for grasping and holding prey, for orienting prey to be swallowed (head first) and for working the prey toward the esophagus. There are a variety of tooth types in fishes. Some fishes, such as sharks and piranhas, have cutting teeth for biting chunks out of their victims. A shark’s tooth, although superficially like that of a piranha, appears in many respects to be a modified scale, while that of the piranha is like that of other bony fishes, consisting of dentine and enamel. Parrot fishes have beaklike mouths with short incisor-like teeth for breaking off coral and have heavy pavementlike throat teeth for crushing the coral. Some catfishes have small brushlike teeth, arranged in rows on the jaws, for scraping plant and animal growth from rocks. Many fishes (such as the Cyprinidae or minnows) have no jaw teeth at all but have very strong throat teeth.
Some fishes gather planktonic food by straining it from their gill cavities with numerous elongate stiff rods (gill rakers) anchored by one end to the gill bars. The food collected on these rods is passed to the throat, where it is swallowed. Most fishes have only short gill rakers that help keep food particles from escaping out the mouth cavity into the gill chamber.
Once reaching the throat, food enters a short, often greatly distensible esophagus, a simple tube with a muscular wall leading into a stomach. The stomach varies greatly in fishes, depending upon the diet. In most predacious fishes it is a simple straight or curved tube or pouch with a muscular wall and a glandular lining. Food is largely digested there and leaves the stomach in liquid form.
Between the stomach and the intestine, ducts enter the digestive tube from the liver and pancreas. The liver is a large, clearly defined organ. The pancreas may be embedded in it, diffused through it, or broken into small parts spread along some of the intestine. The junction between the stomach and the intestine is marked by a muscular valve. Pyloric ceca (blind sacs) occur in some fishes at this junction and have a digestive or absorptive function or both.
The intestine itself is quite variable in length, depending upon the fish’s diet. It is short in predacious forms, sometimes no longer than the body cavity, but long in herbivorous forms, being coiled and several times longer than the entire length of the fish in some species of South American catfishes. The intestine is primarily an organ for absorbing nutrients into the bloodstream. The larger its internal surface, the greater its absorptive efficiency, and a spiral valve is one method of increasing its absorption surface.
Sharks, rays, chimaeras, lungfishes, surviving chondrosteans, holosteans, and even a few of the more primitive teleosts have a spiral valve or at least traces of it in the intestine. Most modern teleosts have increased the area of the intestinal walls by having numerous folds and villi (fingerlike projections) somewhat like those in humans. Undigested substances are passed to the exterior through the anus in most teleost fishes. In lungfishes, sharks, and rays, it is first passed through the cloaca, a common cavity receiving the intestinal opening and the ducts from the urogenital system.
Oxygen and carbon dioxide dissolve in water, and most fishes exchange dissolved oxygen and carbon dioxide in water by means of the gills. The gills lie behind and to the side of the mouth cavity and consist of fleshy filaments supported by the gill arches and filled with blood vessels, which give gills a bright red colour. Water taken in continuously through the mouth passes backward between the gill bars and over the gill filaments, where the exchange of gases takes place. The gills are protected by a gill cover in teleosts and many other fishes but by flaps of skin in sharks, rays, and some of the older fossil fish groups. The blood capillaries in the gill filaments are close to the gill surface to take up oxygen from the water and to give up excess carbon dioxide to the water.
Most modern fishes have a hydrostatic (ballast) organ, called the swim bladder, that lies in the body cavity just below the kidney and above the stomach and intestine. It originated as a diverticulum of the digestive canal. In advanced teleosts, especially the acanthopterygians, the bladder has lost its connection with the digestive tract, a condition called physoclistic. The connection has been retained (physostomous) by many relatively primitive teleosts. In several unrelated lines of fishes, the bladder has become specialized as a lung or, at least, as a highly vascularized accessory breathing organ. Some fishes with such accessory organs are obligate air breathers and will drown if denied access to the surface, even in well-oxygenated water. Fishes with a hydrostatic form of swim bladder can control their depth by regulating the amount of gas in the bladder. The gas, mostly oxygen, is secreted into the bladder by special glands, rendering the fish more buoyant; the gas is absorbed into the bloodstream by another special organ, reducing the overall buoyancy and allowing the fish to sink. Some deep-sea fishes may have oils, rather than gas, in the bladder. Other deep-sea and some bottom-living forms have much-reduced swim bladders or have lost the organ entirely.
The swim bladder of fishes follows the same developmental pattern as the lungs of land vertebrates. There is no doubt that the two structures have the same historical origin in primitive fishes. More or less intermediate forms still survive among the more primitive types of fishes, such as the lungfishes Lepidosiren and Protopterus.
The circulatory, or blood vascular, system consists of the heart, the arteries, the capillaries, and the veins. It is in the capillaries that the interchange of oxygen, carbon dioxide, nutrients, and other substances such as hormones and waste products takes place. The capillaries lead to the veins, which return the venous blood with its waste products to the heart, kidneys, and gills. There are two kinds of capillary beds: those in the gills and those in the rest of the body. The heart, a folded continuous muscular tube with three or four saclike enlargements, undergoes rhythmic contractions and receives venous blood in a sinus venosus. It passes the blood to an auricle and then into a thick muscular pump, the ventricle. From the ventricle the blood goes to a bulbous structure at the base of a ventral aorta just below the gills. The blood passes to the afferent (receiving) arteries of the gill arches and then to the gill capillaries. There waste gases are given off to the environment, and oxygen is absorbed. The oxygenated blood enters efferent (exuant) arteries of the gill arches and then flows into the dorsal aorta. From there blood is distributed to the tissues and organs of the body. One-way valves prevent backflow. The circulation of fishes thus differs from that of the reptiles, birds, and mammals in that oxygenated blood is not returned to the heart prior to distribution to the other parts of the body.
The primary excretory organ in fishes, as in other vertebrates, is the kidney. In fishes some excretion also takes place in the digestive tract, skin, and especially the gills (where ammonia is given off). Compared with land vertebrates, fishes have a special problem in maintaining their internal environment at a constant concentration of water and dissolved substances, such as salts. Proper balance of the internal environment (homeostasis) of a fish is in a great part maintained by the excretory system, especially the kidney.
The kidney, gills, and skin play an important role in maintaining a fish’s internal environment and checking the effects of osmosis. Marine fishes live in an environment in which the water around them has a greater concentration of salts than they can have inside their body and still maintain life. Freshwater fishes, on the other hand, live in water with a much lower concentration of salts than they require inside their bodies. Osmosis tends to promote the loss of water from the body of a marine fish and absorption of water by that of a freshwater fish. Mucus in the skin tends to slow the process but is not a sufficient barrier to prevent the movement of fluids through the permeable skin. When solutions on two sides of a permeable membrane have different concentrations of dissolved substances, water will pass through the membrane into the more concentrated solution, while the dissolved chemicals move into the area of lower concentration (diffusion).
The kidney of freshwater fishes is often larger in relation to body weight than that of marine fishes. In both groups the kidney excretes wastes from the body, but the kidney of freshwater fishes also excretes large amounts of water, counteracting the water absorbed through the skin. Freshwater fishes tend to lose salt to the environment and must replace it. They get some salt from their food, but the gills and skin inside the mouth actively absorb salt from water passed through the mouth. This absorption is performed by special cells capable of moving salts against the diffusion gradient. Freshwater fishes drink very little water and take in little water with their food.
Marine fishes must conserve water, and therefore their kidneys excrete little water. To maintain their water balance, marine fishes drink large quantities of seawater, retaining most of the water and excreting the salt. Most nitrogenous waste in marine fishes appears to be secreted by the gills as ammonia. Marine fishes can excrete salt by clusters of special cells (chloride cells) in the gills.
There are several teleosts—for example, the salmon—that travel between fresh water and seawater and must adjust to the reversal of osmotic gradients. They adjust their physiological processes by spending time (often surprisingly little time) in the intermediate brackish environment.
Marine hagfishes, sharks, and rays have osmotic concentrations in their blood about equal to that of seawater and so do not have to drink water nor perform much physiological work to maintain their osmotic balance. In sharks and rays the osmotic concentration is kept high by retention of urea in the blood. Freshwater sharks have a lowered concentration of urea in the blood.
Endocrine glands secrete their products into the bloodstream and body tissues and, along with the central nervous system, control and regulate many kinds of body functions. Cyclostomes have a well-developed endocrine system, and presumably it was well developed in the early Agnatha, ancestral to modern fishes. Although the endocrine system in fishes is similar to that of higher vertebrates, there are numerous differences in detail. The pituitary, the thyroid, the suprarenals, the adrenals, the pancreatic islets, the sex glands (ovaries and testes), the inner wall of the intestine, and the bodies of the ultimobranchial gland make up the endocrine system in fishes. There are some others whose function is not well understood. These organs regulate sexual activity and reproduction, growth, osmotic pressure, general metabolic activities such as the storage of fat and the utilization of foodstuffs, blood pressure, and certain aspects of skin colour. Many of these activities are also controlled in part by the central nervous system, which works with the endocrine system in maintaining the life of a fish. Some parts of the endocrine system are developmentally, and undoubtedly evolutionarily, derived from the nervous system.
As in all vertebrates, the nervous system of fishes is the primary mechanism coordinating body activities, as well as integrating these activities in the appropriate manner with stimuli from the environment. The central nervous system, consisting of the brain and spinal cord, is the primary integrating mechanism. The peripheral nervous system, consisting of nerves that connect the brain and spinal cord to various body organs, carries sensory information from special receptor organs such as the eyes, internal ears, nares (sense of smell), taste glands, and others to the integrating centres of the brain and spinal cord. The peripheral nervous system also carries information via different nerve cells from the integrating centres of the brain and spinal cord. This coded information is carried to the various organs and body systems, such as the skeletal muscular system, for appropriate action in response to the original external or internal stimulus. Another branch of the nervous system, the autonomic nervous system, helps to coordinate the activities of many glands and organs and is itself closely connected to the integrating centres of the brain.
The brain of the fish is divided into several anatomical and functional parts, all closely interconnected but each serving as the primary centre of integrating particular kinds of responses and activities. Several of these centres or parts are primarily associated with one type of sensory perception, such as sight, hearing, or smell (olfaction).
The sense of smell is important in almost all fishes. Certain eels with tiny eyes depend mostly on smell for location of food. The olfactory, or nasal, organ of fishes is located on the dorsal surface of the snout. The lining of the nasal organ has special sensory cells that perceive chemicals dissolved in the water, such as substances from food material, and send sensory information to the brain by way of the first cranial nerve. Odour also serves as an alarm system. Many fishes, especially various species of freshwater minnows, react with alarm to a chemical released from the skin of an injured member of their own species.
Many fishes have a well-developed sense of taste, and tiny pitlike taste buds or organs are located not only within their mouth cavities but also over their heads and parts of their body. Catfishes, which often have poor vision, have barbels (“whiskers”) that serve as supplementary taste organs, those around the mouth being actively used to search out food on the bottom. Some species of naturally blind cave fishes are especially well supplied with taste buds, which often cover most of their body surface.
Sight is extremely important in most fishes. The eye of a fish is basically like that of all other vertebrates, but the eyes of fishes are extremely varied in structure and adaptation. In general, fishes living in dark and dim water habitats have large eyes, unless they have specialized in some compensatory way so that another sense (such as smell) is dominant, in which case the eyes will often be reduced. Fishes living in brightly lighted shallow waters often will have relatively small but efficient eyes. Cyclostomes have somewhat less elaborate eyes than other fishes, with skin stretched over the eyeball perhaps making their vision somewhat less effective. Most fishes have a spherical lens and accommodate their vision to far or near subjects by moving the lens within the eyeball. A few sharks accommodate by changing the shape of the lens, as in land vertebrates. Those fishes that are heavily dependent upon the eyes have especially strong muscles for accommodation. Most fishes see well, despite the restrictions imposed by frequent turbidity of the water and by light refraction.
Fossil evidence suggests that colour vision evolved in fishes more than 300 million years ago, but not all living fishes have retained this ability. Experimental evidence indicates that many shallow-water fishes, if not all, have colour vision and see some colours especially well, but some bottom-dwelling shore fishes live in areas where the water is sufficiently deep to filter out most if not all colours, and these fishes apparently never see colours. When tested in shallow water, they apparently are unable to respond to colour differences.
Sound perception and balance are intimately associated senses in a fish. The organs of hearing are entirely internal, located within the skull, on each side of the brain and somewhat behind the eyes. Sound waves, especially those of low frequencies, travel readily through water and impinge directly upon the bones and fluids of the head and body, to be transmitted to the hearing organs. Fishes readily respond to sound; for example, a trout conditioned to escape by the approach of fishermen will take flight upon perceiving footsteps on a stream bank even if it cannot see a fisherman. Compared with humans, however, the range of sound frequencies heard by fishes is greatly restricted. Many fishes communicate with each other by producing sounds in their swim bladders, in their throats by rasping their teeth, and in other ways.
A fish or other vertebrate seldom has to rely on a single type of sensory information to determine the nature of the environment around it. A catfish uses taste and touch when examining a food object with its oral barbels. Like most other animals, fishes have many touch receptors over their body surface. Pain and temperature receptors also are present in fishes and presumably produce the same kind of information to a fish as to humans. Fishes react in a negative fashion to stimuli that would be painful to human beings, suggesting that they feel a sensation of pain.
An important sensory system in fishes that is absent in other vertebrates (except some amphibians) is the lateral line system. This consists of a series of heavily innervated small canals located in the skin and bone around the eyes, along the lower jaw, over the head, and down the mid-side of the body, where it is associated with the scales. Intermittently along these canals are located tiny sensory organs (pit organs) that apparently detect changes in pressure. The system allows a fish to sense changes in water currents and pressure, thereby helping the fish to orient itself to the various changes that occur in the physical environment.
Although a great many fossil fishes have been found and described, they represent a tiny portion of the long and complex evolution of fishes, and knowledge of fish evolution remains relatively fragmentary. In the classification presented in this article, fishlike vertebrates are divided into seven categories, the members of each having a different basic structural organization and different physical and physiological adaptations for the problems presented by the environment. The broad basic pattern has been one of successive replacement of older groups by newer, better-adapted groups. One or a few members of a group evolved a basically more efficient means of feeding, breathing, or swimming or several better ways of living. These better-adapted groups then forced the extinction of members of the older group with which they competed for available food, breeding places, or other necessities of life. As the new fishes became well established, some of them evolved further and adapted to other habitats, where they continued to replace members of the old group already there. The process was repeated until all or almost all members of the old group in a variety of habitats had been replaced by members of the newer evolutionary line.
The earliest vertebrate fossils of certain relationships are fragments of dermal armour of jawless fishes (superclass Agnatha, order Heterostraci) from the Upper Ordovician Period in North America, about 450 million years in age. Early Ordovician toothlike fragments from the former Soviet Union are less certainly remains of agnathans. It is uncertain whether the North American jawless fishes inhabited shallow coastal marine waters, where their remains became fossilized, or were freshwater vertebrates washed into coastal deposits by stream action.
Jawless fishes probably arose from ancient, small, soft-bodied filter-feeding organisms much like and probably also ancestral to the modern sand-dwelling filter feeders, the Cephalochordata (Amphioxus and its relatives). The body in the ancestral animals was probably stiffened by a notochord. Although a vertebrate origin in fresh water is much debated by paleontologists, it is possible that mobility of the body and protection provided by dermal armour arose in response to streamflow in the freshwater environment and to the need to escape from and resist the clawed invertebrate eurypterids that lived in the same waters. Because of the marine distribution of the surviving primitive chordates, however, many paleontologists doubt that the vertebrates arose in fresh water.
Heterostracan remains are next found in what appear to be delta deposits in two North American localities of Silurian age. By the close of the Silurian, about 416 million years ago, European heterostracan remains are found in what appear to be delta or coastal deposits. In the Late Silurian of the Baltic area, lagoon or freshwater deposits yield jawless fishes of the order Osteostraci. Somewhat later in the Silurian from the same region, layers contain fragments of jawed acanthodians, the earliest group of jawed vertebrates, and of jawless fishes. These layers lie between marine beds but appear to be washed out from fresh waters of a coastal region.
It is evident, therefore, that by the end of the Silurian both jawed and jawless vertebrates were well established and already must have had a long history of development. Yet paleontologists have remains only of specialized forms that cannot have been the ancestors of the placoderms and bony fishes that appear in the next period, the Devonian. No fossils are known of the more primitive ancestors of the agnathans and acanthodians. The extensive marine beds of the Silurian and those of the Ordovician are essentially void of vertebrate history. It is believed that the ancestors of fishlike vertebrates evolved in upland fresh waters, where whatever few and relatively small fossil beds were made probably have been long since eroded away. Remains of the earliest vertebrates may never be found.
By the close of the Silurian, all known orders of jawless vertebrates had evolved, except perhaps the modern cyclostomes, which are without the hard parts that ordinarily are preserved as fossils. Cyclostomes were unknown as fossils until 1968, when a lamprey of modern body structure was reported from the Middle Pennsylvanian of Illinois, in deposits more than 300 million years old. Fossil evidence of the four orders of armoured jawless vertebrates is absent from deposits later than the Devonian. Presumably, these vertebrates became extinct at that time, being replaced by the more efficient and probably more aggressive placoderms, acanthodians, selachians (sharks and relatives), and by early bony fishes. Cyclostomes survived probably because early on they evolved from anaspid agnathans and developed a rasping tonguelike structure and a sucking mouth, enabling them to prey on other fishes. With this way of life they apparently had no competition from other fish groups. Cyclostomes, the hagfishes and lampreys, were once thought to be closely related because of the similarity in their suctorial mouths, but it is now understood that the hagfishes, order Myxiniformes, are the most primitive living chordates, and they are classified separately from the lampreys, order Petromyzontiformes.
Early jawless vertebrates probably fed on tiny organisms by filter feeding, as do the larvae of their descendants, the modern lampreys. The gill cavity of the early agnathans was large. It is thought that small organisms taken from the bottom by a nibbling action of the mouth, or more certainly by a sucking action through the mouth, were passed into the gill cavity along with water for breathing. Small organisms then were strained out by the gill apparatus and directed to the food canal. The gill apparatus thus evolved as a feeding, as well as a breathing, structure. The head and gills in the agnathans were protected by a heavy dermal armour; the tail region was free, allowing motion for swimming.
Most important for the evolution of fishes and vertebrates in general was the early appearance of bone, cartilage, and enamel-like substance. These materials became modified in later fishes, enabling them to adapt to many aquatic environments and finally even to land. Other basic organs and tissues of the vertebrates—such as the central nervous system, heart, liver, digestive tract, kidney, and circulatory system— undoubtedly were present in the ancestors of the agnathans. In many ways, bone, both external and internal, was the key to vertebrate evolution.
The next class of fishes to appear was the Acanthodii, containing the earliest known jawed vertebrates, which arose in the Late Silurian, more than 416 million years ago. The acanthodians declined after the Devonian but lasted into the Early Permian, a little less than 280 million years ago. The first complete specimens appear in Lower Devonian freshwater deposits, but later in the Devonian and Permian some members appear to have been marine. Most were small fishes, not more than 75 cm (approximately 30 inches) in length.
We know nothing of the ancestors of the acanthodians. They must have arisen from some jawless vertebrate, probably in fresh water. They appear to have been active swimmers with almost no head armour but with large eyes, indicating that they depended heavily on vision. Perhaps they preyed on invertebrates. The rows of spines and spinelike fins between the pectoral and pelvic fins give some credence to the idea that paired fins arose from “fin folds” along the body sides.
The relationships of the acanthodians to other jawed vertebrates are obscure. They possess features found in both sharks and bony fishes. They are like early bony fishes in possessing ganoidlike scales and a partially ossified internal skeleton. Certain aspects of the jaw appear to be more like those of bony fishes than sharks, but the bony fin spines and certain aspects of the gill apparatus would seem to favour relationships with early sharks. Acanthodians do not seem particularly close to the Placodermi, although, like the placoderms, they apparently possessed less efficient tooth replacement and tooth structure than the sharks and the bony fishes, possibly one reason for their subsequent extinction.
Utilizing the NS New Castle District as part of the joint NS/CSX Cincinnati Directional Running Agreement, CSX manifest freight M561 approaches Milepost CF18 in Sharonville, Ohio on a bright and sunny Veterans Day afternoon.
A westbound N&W freight diverges from the B&OCT onto the C&WI at State Line Tower, in October 1974. This is a former Wabash Gary District utilizing trackage rights on the B&OCT from Clarke Jct. to State Line Tower.
"This is a beautifully-constructed 1 and 3/4 storey residence utilizing local sandstone which was likely obtained from construction of the locks. The front view gives the appearance of a bungalow as the second storey dormer windows are restricted to the sides and the rear of the residence. The original oak front doors - exterior and interior - are still in place. There is a large sandstone chimney near the front entrance. The original sandstone work is remarkable; both in quality and architectural features as previously described, and must have contributed considerably to the building cost. According to City records, this residence was constructed in 1919 but there is no record of occupancy until 1921 when Wm. F. Gilchriese is listed as occupant. From 1918-1922 Glichriese was Manager, New Ontario Dock Co. Ltd., agent for Canada Steamship Lines and agent for Northern Navigation Co. Ltd. Prior to moving to 1035 Queen St. E., he lived at 124 McGregor Ave. He left the City in 1922. His home was sold to James F. Shaw in 1922 who founded Shaw Milling. Members of the Shaw family lived there for just over 80 years. In the 1930's, James Shaw constructed a flat-roofed garage utilizing sandstone to match the original residence." - info from Heritage Trust Ontario.
"Sault Ste. Marie (/ˈsuː seɪnt məˈriː/ SOO-seint-ma-REE) is a city on the St. Marys River in Ontario, Canada, close to the Canada–US border. It is the seat of the Algoma District and the third largest city in Northern Ontario, after Sudbury and Thunder Bay.
The Ojibwe, the indigenous Anishinaabe inhabitants of the area, call this area Baawitigong, meaning "place of the rapids." They used this as a regional meeting place during whitefish season in the St. Mary's Rapids. (The anglicized form of this name, Bawating, is used in institutional and geographic names in the area.)
To the south, across the river, is the United States and the Michigan city of the same name. These two communities were one city until a new treaty after the War of 1812 established the border between Canada and the United States in this area at the St. Mary's River. In the 21st century, the two cities are joined by the International Bridge, which connects Interstate 75 on the Michigan side, and Huron Street (and former Ontario Secondary Highway 550B) on the Ontario side. Shipping traffic in the Great Lakes system bypasses the Saint Mary's Rapids via the American Soo Locks, the world's busiest canal in terms of tonnage that passes through it, while smaller recreational and tour boats use the Canadian Sault Ste. Marie Canal.
French colonists referred to the rapids on the river as Les Saults de Ste. Marie and the village name was derived from that. The rapids and cascades of the St. Mary's River descend more than 6 m (20 ft) from the level of Lake Superior to the level of the lower lakes. Hundreds of years ago, this slowed shipping traffic, requiring an overland portage of boats and cargo from one lake to the other. The entire name translates to "Saint Mary's Rapids" or "Saint Mary's Falls". The word sault is pronounced [so] in French, and /suː/ in the English pronunciation of the city name. Residents of the city are called Saultites.
Sault Ste. Marie is bordered to the east by the Rankin and Garden River First Nation reserves, and to the west by Prince Township. To the north, the city is bordered by an unincorporated portion of Algoma District, which includes the local services boards of Aweres, Batchawana Bay, Goulais and District, Peace Tree and Searchmont. The city's census agglomeration, including the townships of Laird, Prince and Macdonald, Meredith and Aberdeen Additional and the First Nations reserves of Garden River and Rankin, had a total population of 79,800 in 2011.
Native American settlements, mostly of Ojibwe-speaking peoples, existed here for more than 500 years. In the late 17th century, French Jesuit missionaries established a mission at the First Nations village. This was followed by development of a fur trading post and larger settlement, as traders, trappers and Native Americans were attracted to the community. It was considered one community and part of Canada until after the War of 1812 and settlement of the border between Canada and the US at the Ste. Mary's River. At that time, the US prohibited British traders from any longer operating in its territory, and the areas separated by the river began to develop as two communities, both named Sault Ste. Marie." - info from Wikipedia.
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+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the aftermath of the Second World War, Sweden required a strong air defense, utilizing the newly developed jet propulsion technology. The original concept had been designed around a mostly straight wing, but after Swedish engineers had obtained German research data on swept-wing designs, the prototype was altered to incorporate a 25° sweep. In order to make the wing as thin as possible, Saab elected to locate the retractable undercarriage in the aircraft's fuselage rather than into the wings.
Extensive wind tunnel testing had also influenced aspects of the aircraft's aerodynamics, such as stability and trim across the aircraft's speed range. In order to test the design of the swept wing further and avoid any surprises, it was decided to modify a Saab Safir. It received the designation Saab 201 and a full-scale swept wing for a series of flight tests. The first 'final' sketches of the aircraft, incorporating the new information, were drawn in January 1946.
The originally envisioned powerplant for the new fighter type was the de Havilland Goblin turbojet engine. However, in December 1945, information on the newer and more powerful de Havilland Ghost engine became available. The new engine was deemed to be ideal for Saab's in-development aircraft, as not only did the Ghost engine had provisions for the use of a central circular air intake, the overall diameter of the engine was favorable for the planned fuselage dimensions, too. Thus, following negotiations between de Havilland and Saab, the Ghost engine was selected to power the type and built in license as the RM 2.
By February 1946 the main outline of the proposed aircraft had been clearly defined. In autumn 1946, following the resolution of all major questions of principal and the completion of the project specification, the Swedish Air Force formally ordered the completion of the design and that three prototype aircraft be produced, giving the proposed type the designation J 29. After a thorough test program, production of the type commenced in 1948 and, in May 1951, the first deliveries of operational production aircraft were received by F 13 Norrköping. The J 29 proved to be very successful and several variants and updates of the Tunnan were produced, including a dedicated reconnaissance variant, a two seat trainer and an all-weather fighter with an onboard radar
However, Sweden foresaw that there would soon be a need for a jet fighter that could intercept bombers at high altitude and also successfully engage fighters. During September 1949, the Swedish Air Force, via the Swedish Defence Material Administration, released a requirement for a cutting-edge interceptor aircraft that was envisioned to be capable of attacking hostile bomber aircraft in the transonic speed range. As released, this requirement specified a top speed of Mach speed 1.4 to 1.5. (1956, the specified speed was revised and raised to Mach 1.7-1.8, and eventually led to the Saab 35 Draken). With the barely supersonic Saab 32 Lansen just under development, and intended for different roles than being a nimble day fighter, the company searched for a way to either achieve supersonic flight through modifications of an existing type or at least gather sufficient data and develop and try the new technologies necessary to meet the 1949 requirements.
Since Sweden did not have a truly supersonic aircraft in its inventory (not even an experimental type), Saab decided to convert the Saab 29 into a supersonic testbed, with the outlook to develop an interim day fighter that could replace the various Tunnan fighter versions and support the new Lansen fleet until a fully capable Mach 1.5+ interceptor was ready for service. Even though the type was regarded as a pure experimental aircraft, the designation remained close to the J29 nomenclature in order to secure military funding for the project and to confuse eventual spies. Consequently, the P29 was initially presented as a new J29 version (hence the “G” suffix).
The P29G was based on a heavily modified production J29B airframe, which was built in two versions and only in two specimens. Work on the first airframe started in 1952, just when the first Saab 32 prototype made its maiden flight. The initial challenge consisted of integrating two relatively compact axial flow jet engines with afterburners into the fuselage, since the J29’s original RM2, even in its late afterburner variant, was not able to safely deliver the necessary thrust for the intended supersonic flight program. After long negotiations, Saab was able to procure a small number of Westinghouse J34-WE-42 turbojets from the USA, which delivered as a pair 40% more thrust than the original RM2B. The engines were only delivered under the restriction that they would exclusively be used in connection with the supersonic research program.
Through a thorough re-construction, the Saab team was able to mount the new engines into the lower rear fuselage, and, internally, the air intake duct had to be modified and forked behind the landing gear wells. Due to the significantly widened rear fuselage, the P29G became quickly nicknamed “Kurviga Tunnan” (= “Curvy Barrel”). Even though the widened rear fuselage increased the aircraft’s frontal cross section, the modified shape had the (unintended) effect of area ruling, a welcome side benefit which became apparent during the flight test and which largely promoted the P29G’s gain of top speed.
Another special and unique feature of the P29G was a special wing attachment system. It consisted of two strengthened, open box spars in the fuselage with additional attachment points along the wing roots, which allowed different wings to be switched with relatively little effort. However, due to this modification, the wing tanks (with a total capacity of 900l inside of the J29s standard wings) were lost and only 2.150l in the Saab 29’s standard fuselage tanks could be carried – but this was, for a research aircraft, not regarded as a major weakness, and compensated for the wing attachment system’s additional weight. The original wing-mounted pitots were replaced by a single, massive sensor boom attached to the aircraft’s nose above the air intake, slightly set-off to starboard in order to give the pilot an unobstructed view.
The first P29G's maiden flight, marked “Gul Urban” (Yellow U), took place in July 1955. The aircraft behaved normally, even though the center of gravity had markedly shifted backwards and the overall gain of weight made the aircraft slightly unstable along the longitudinal axis. During the initial, careful attempts to break the sound barrier, it soon became apparent that both the original wings as well as the original air intake shape limited the P29G's potential. In its original form, the P29G could only barely pass Mach 1 in level flight.
As a consequence, the second P29G, which had been under conversion from another J29B airframe since mid-1954, received more thorough modifications. The air intake was lengthened and widened, and in order to make it more effective at supersonic speed it received a sharp lip. Wind tunnel tests with the first machine led to a modified tail, too: the fin was now taller and further swept back, the stabilizer was moved to a higher position, resulting in a cruciform layout. The original single-piece stabilizer was furthermore replaced by a two-piece, all-moving construction with a 45° sweep and a thinner profile. This not only improved the aerodynamics at high speed, it also suppressed the longitudinal instability problem, even though this was never really cured.
Due to the even higher all-up weight of the new aircraft, the landing gear was reinforced and the 2nd P29G received an experimental suspension system on its main legs with higher spring travel, which was designed for operations on semi-prepared airfields. This system had actually been designed for the updated J29 fighters (esp. the A32B attack variant), but it was not introduced into series production or the Saab 29E/F conversion program. Despite these massive changes, the P29G designation was retained, and the second machine, carrying the tactical code “Röd Urban” (Red U), was quickly nicknamed “Karpen” (“Carp”), due to its characteristic new intake shape, the long fin and its stocky shape.
The second P29G was ready for flight tests in August 1956, just in time to support the Saab 35’s ongoing development – the aircraft, which was eventually built to meet (and exceed) the Swedish Air Force’s 1949 supersonic interceptor requirement. The modifications proved to be successful and the P29G was, fitted with a 60° sweep wing and in clean configuration, able to achieve a maximum speed of 1.367 km/h (849 mph) in level flight, a formidable achievement (vs. the 1,060 km/h (660 mph) of the late J29F and the 1200 km/h (745 mph) of the J32B interceptor) for the post WWII design.
Several wing shapes and profiles were tested, including sweep angles from 25° to 63° as well as different shapes and profiles. Even though the machines carried provisions for the J29’s standard armament, the 20 mm cannons were normally not mounted and replaced with sensors and recording equipment. However, both machines were temporarily fitted with one or two guns in order to analyze the effects of firing the weapons at supersonic speed. Underwing ordnance was also almost never carried. In some tests, though, light bombs or unguided missiles were carried and deployed, or podded cine cameras were carried.
While the second P29G was used for high speed trials, the first machine remained in its original guise and took over low speed handling tests. Thanks to the unique wing switch mechanism, the supersonic research program could be held within a very tight schedule and lasted until late 1959. Thereafter, the P29Gs’ potential was of little use anymore, and the engine use agreement with the USA put an end to further use of the two aircraft, so that both P29Gs were retired from service in 1960. The 1st machine, outfitted with standard J29F wings and stripped off of its engines, remained in use as an instructional air at Malmslätt air base 1969, while the second machine was mothballed. However, both airframes were eventually scrapped in 1970.
General characteristics:
Crew: 1
Length: 11.66 m (38 ft 2 in) fuselage only,
13,97 m (45 ft 9 in) with pitot boom
Wingspan: varied*; 11.0 m (36 ft 1 in) with standard 25° sweep wings,
10.00 m (32 ft 9 ¾ in) with experimental 45° wings
Height: 4.54m (14 ft 10 ½ in)
Wing area: varied*; 24.15 m² (260.0 ft²) with standard 25° sweep wings
22.5 m² (242.2 ft²) with experimental 45° wings
Empty weight: 5,220 kg (11,500 lb)
Max. takeoff weight: 8,510 kg (18,744 lb)
Powerplant:
2× Westinghouse J34-WE-42 turbojets, each rated at 3,400 lbf (15 kN) dry thrust
and 4,200 lbf (19 kN) with full afterburner
Performance:
Maximum speed: 1.367 km/h (849 mph) were achieved*
Range: 790 km (490 mi)
Service ceiling: up to 17,250 m (56,500 ft)*
Rate of climb: up to 45 m/s (8,850 ft/min)*
*Varying figures due to different tested wing configurations
Armament:
None installed; provisions for 4x 20mm Hispano Mark V autocannon in the lower front fuselage.
Depending on the mounted wing type, various external loads could be carried, including a wide range of light bombs, 75 mm (3 in) air-to-air rockets, 145 mm (5.8 in) anti-armor rockets, 150 mm (6 in) HE (high-explosive) rockets or 180 mm (7.2 in) HE anti-ship rockets. Due to the lack of complex wiring or fuel plumbing, no guided weapons or drop tanks could be mounted, though.
The kit and its assembly:
Sweden is a prolific whiffing territory, and the Saab 29 offers some interesting options. This highly modified Tunnan, which is actually rather a kitbashing than a mere model kit modification, is/was a submission to the “More or less engines” group build at whatifmodelers.com in summer 2019.
I actually had the idea of a two-engine J29 in the back of my mind for a long time, spawned by a resin conversion set for the Hasegawa B-47 Stratojet kit that came with new intakes and exhaust sections for the four engine pods. The single engine pod parts had been spent a long time ago, but the twin engine parts were still waiting for a good use. Could the exhaust fit under/into a Tunnan…?
I even had a Matchbox J29 stashed away for this experiment long ago, as well as some donor parts like the wings, and the GB eventually offered the right motivation to put those things together that no one would expect to work.
So I pulled out all the stuff and started – a rather straightforward affair. Work started with the fuselage, which was, together with the (very nice) cockpit assembled OOB at first, the nose filled with as much lead as possible and with the lower rear section cut away, so the B-47 resin jet nozzles would end up at the same position as the original RM2B exhaust. Due to the pen nib fairing between them, though, the profile of the modified tail became (visually) more massive, and I had to fill some gaps under the tail boom (with styrene sheet and putty). The twin engines also turned out to be wider than expected – I had hoped for straight flanks, but the fuselage shape ended up with considerable bulges behind the landing gear wells. These were created with parts from drop tank halves and blended into the rest of the lower hill with PSR work. In the same wake the area under the fin was sculpted and re-created, too.
At that point it became clear that I had to do more on the fuselage, esp. the front end, in order to keep the aircraft visually balance. A convenient solution became an F-100 air intake, which I grafted onto the nose instead of the original circular and round-lipped orifice – with its sharp lip the Super Sabre piece was even a plausible change! The fuselage shapes and diameters differed considerably, though, more PSR became necessary.
Next came the wings: I had already set apart a pair of trapezoid wings with a 45° sweep angle – these were left over from a PM Model Ta 183 conversion some time ago. With their odd shape and size they were a perfect match for my project, even more so due to the fact that I could keep the original J29 wing attachment points, I just had to shorten and modify the trailing edge area on the fuselage. The result was very conclusive.
With the new nose and the wings in place, the overall proportions became clearer: still tail-heavy, but not unpleasant. At this time I was also certain that I had to modify the tail surfaces. The fin was too small and did not have enough sweep for the overall look, and the stabilizer, with its thick profile, rounded edges and the single, continuous rudder did not look supersonic at all. What followed was a long search in the donor banks for suitable replacements, and I eventually came up with a MiG-15 fin (Hobby Boss) which was later clipped at the top for a less recognizable profile. The stabilizers were more challenging, though. My solution eventually became a pair of modified stabilizers from a Matchbox Buccaneer(!), attached to the MiG-15 fin.
The design problems did not stop here, though: the landing gear caused some more headaches. I wanted to keep the OOB parts, but especially the main legs would leave the aircraft with a very goofy look through a short wheelbase and a rear axis position too much forward. In an attempt to save the situation I attached swing arms to the OOB struts, moving the axis maybe 5mm backwards and widening the track by 2mm at the same time. Not much in total, but it helped (a little, even though the aircraft is still very tail-heavy)
As a final addition – since the original, wing-mounted pitots of the J29 were gone now and would not go well with the wing-switching idea – I gave the P29G a large, nose-mounted pitot and sensor boom, placed on top of the nose. This part come, like the air intake, from an F-100.
Painting and markings:
I tend to be conservative when it comes to liveries for what-if models, and the P29G is no exception. At first, I thought that this build could become an operational supersonic daylight interceptor (the J29G), so that I could give the model full military markings and maybe a camouflage paint scheme. However, this idea would not work: the potential real life window for such an aircraft, based on the Saab 29, would be very narrow. And aircraft development in the late Fifties made quantum leaps within a very short period of time: While the J29A entered service, work on the Mach 2 Saab 35 was already underway – nobody would have accepted (or needed) a Mach 1 fighter, based on late Forties technology, at that time anymore, and there was the all-weather Saab J32B around, too. The update program with new wings and a more powerful afterburner engine was all that could be done to exploit the Tunnan’s potential, resulting in the (real world’s) J29E and F variants.
I eventually decided that the J29G would only be a prototype/research aircraft, consequently called P29G, and through this decision I became more or less settled upon a NMF finish with some colorful markings. Consequently, the model was painted with various shades of metal colors, primarily Polished Aluminum Metallizer from Humbrol, but also with Humbrol 191 and Matt Aluminum Metallizer as well as ModelMaster Steel Metallizer. Around the exhaust section, I also used Revell 91 (Iron) and ModelMaster Exhaust Metallizer. Some single panels and details were painted with Revell 99 (Aluminum), and I also used generic decal material in silver to simulate some smaller access panels. Grey decal sheet was used to simulate covers for the cannon nozzles.
The cockpit interior was painted, according to Saab 29 standard, in a dark greenish-grey (Revell 67), and bluish grey was used inside of the landing gear wells (Revell 57). The pitot boom received black and white stripes.
For markings I let myself get inspired from the real world Saab 29 and 32 prototypes, which were all marked with a colored “U” tactical code on the fin and also on the front fuselage, simply meaning “Utverding” (= “Test”). I found four red decals, and I also gave the aircraft a yellow cheatline, lent from an Airfix F-86D decal sheet. The Swedish roundels come from a generic aftermarket sheet, most stencils were taken from the Revell OOB sheet and a Printscale J29 sheet.
Before the model was sealed with semi-gloss acrylic varnish from Italeri, some grinded graphite was rubbed onto the rear fuselage, adding a metallic shine and simulating exhaust stains.
A thorough conversion – this has rather evolved into a kitbashing than just a kit conversion: not much from the original Matchbox J29 has been left over. But I like the outcome, even though things developed gradually from the simple idea of changing the number of engines on the Tunnan. One thing led to another. The resulting aircraft looks quite plausible, even though I am not totally happy with the landing gear, which appears to be rather far forward, despite surgical measures to mend the situation. The Ta 183 wings are a very good match, though, and I cannot help but recognize a certain French look, maybe due to the cruciform tail and the oval air intake? The P29G could also, with Argentinian marking, have become a revised version of the FMA Pulqui II?
It’s time for Jersey Shore Texas A&M Aggie Ring ’84 to visit his accountant this week to take care of taxes so that meant Aggie Ring needed to make up a large batch of jerky.
Aggie Ring said that he wanted to get out of his “comfort zone” with the beef jerky this time so his plan was to utilize two different cuts of meat this year. The first type was a standard cut of beef (at least “beef” is what the butcher at the Mexican market that Aggie Ring goes to said it was). The “meat” was so fresh that Aggie Ring said he thought it was still quivering. The carnicero sliced it to order just for Aggie Ring. The raw, fresh meat had a wonderful smell.
The second type of beef that Aggie Ring wanted to try was corned beef brisket. This is where Aggie Ring was getting out of his “comfort zone.” He’d never tried making jerky out of corned beef but he had read about it and knew that some people used it. Aggie Ring had me chauffeur him to a different market—one where more of the Irish shopped. Given the time of year, their corned beef case was about the same size as the hamburger meat case.
Aggie Ring had me select two 5-pound corned beef briskets. They were both flat cut as opposed to the round. Aggie Ring said that it would be easier to cut them into strips that way.
When Aggie Ring got home. He made up a standard marinade for the regular sliced beef (with a little extra brown sugar this time) and put it and the sliced beef into a 2-gallon freezer bag to marinate overnight. Aggie Ring then soaked the two briskets in cold water, changing it frequently, for several hours to remove as much of the salt brine from the meat as possible.
The two corned beef briskets needed to be “par frozen” for an hour or two so it would be possible to get consistent slices when cutting them up. Aggie Ring decided to have me half the two briskets, wrap them in plastic wrap and put them into the freezer. When the four sections were firm, but not frozen, Aggie Ring took them out, trimmed off the fat and cut them into 1/4” strips.
Aggie Ring had “Googled” different techniques for making corned beef jerky and noticed that most people didn’t use any marinade or do anything to the corned beef since it has already been brined. Aggie Ring put the strips onto the dehydrator trays, threw some black pepper on the strips and said a little “Aggie Ring” prayer as he set the unit for about six hours. Approximately, six hours later, Aggie Ring checked on his corned beef jerky and was pleasantly surprised at how well it turned out.
Aggie Ring’s “after action” review of the process contained the following:
There was approximately 60% shrinkage with the corned beef. Normal beef has about a 50% shrinkage rate when you remove the moisture during the jerking process. This is commensurate with the amount of mass loss of corned beef in the normal cooking process as there’s quite a bit of excess moisture in the corned beef left from the brining or “corning” process.
The corned beef jerky is somewhat salty. Although, it’s less salty than regularly prepared corned beef because we soaked the briskets for several hours to aid in removing some of the salt from the meat.
The end product was nice and chewy, but still firm. Aggie Ring was as pleased as a little Aggie Ring can be at how the texture turned out. Aggie Ring had been concerned that it was going to turn out rubbery but that was not the case at all.
Black pepper paired nicely with the corned beef. Aggie Ring is considering a light dusting of mustard powder the next time he tries this cut of beef as mustard and corned beef are a Jersey Shore standard this time of year.
Aggie Ring says, “The road goes on forever and the party never ends!”
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
ILRI has recently submitted a proposal on 'Feed and Fodder Production in Different Agro-climatic Zones and Utilization for Livestock of Odisha' to F&ARD's Directorate of Animal Husbandry and Veterinary Services (DAH&VS).
ILRI has been working in Odisha since 2013 in collaboration with Odisha University of Agriculture and Technology (OUAT), the Orissa State Cooperative Milk Producers' Federation (OMFED) and the state government’s DAH&VS and F&ARD to improve the state's livestock productivity through better use of crop residues and locally sourced feed supplements within the framework of the CGIAR Cereal Systems Initiatives for South Asia (CSISA).
An international workshop on 'Improving Livestock Feeding Practice and Enhancement of Feed and Fodder Availability in Odisha' was organized jointly by Society for Management of Information, Learning and Extension (SMILE) and ILRI in 2015.
Based on the workshop’s recommendations, Odisha's F&ARD Department is recommending in 2016 the preparation of a comprehensive fodder development plan for Odisha (photo credit: ILRI/Jules Mateo).
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the aftermath of the Second World War, Sweden required a strong air defense, utilizing the newly developed jet propulsion technology. This led to a pair of proposals being issued by the Saab design team, led by Lars Brising. The first of these, codenamed R101, was a cigar-shaped aircraft, which bore a resemblance to the American Lockheed P-80 Shooting Star. The second design, which would later be picked as the winner, was a barrel-shaped design, codenamed R 1001, which proved to be both faster and more agile upon closer study.
The original R 1001 concept had been designed around a mostly straight wing, but after Swedish engineers had obtained German research data on swept-wing designs, the prototype was altered to incorporate a 25° sweep. In order to make the wing as thin as possible, Saab elected to locate the retractable undercarriage in the aircraft's fuselage rather than into the wings.
Extensive wind tunnel testing performed at the Swedish Royal University of Technology and by the National Aeronautical Research Institute had also influenced aspects of the aircraft's aerodynamics, such as stability and trim across the aircraft's speed range. In order to test the design of the swept wing further and avoid any surprises, it was decided to modify a single Saab Safir. It received the designation Saab 201 and a full-scale R 1001 wing for a series of flight tests. The first 'final' sketches of the aircraft, incorporating the new information, was drawn in January 1946.
The originally envisioned powerplant for the new fighter type was the de Havilland Goblin turbojet engine. However, in December 1945, information on the newer and more powerful de Havilland Ghost engine became available. The new engine was deemed to be ideal for Saab's in-development aircraft, as not only did the Ghost engine had provisions for the use of a central circular air intake, the overall diameter of the engine was favorable for the planned fuselage dimensions, too. Thus, following negotiations between de Havilland and Saab, the Ghost engine was selected to power the type instead and built in license as the RM 2.
By February 1946 the main outline of the proposed aircraft had been clearly defined. In Autumn 1946, following the resolution of all major questions of principal and the completion of the project specification, the Swedish Air Force formally ordered the completion of the design and that three prototype aircraft be produced, giving the proposed type the designation J 29.
On 1 September 1948, the first of the Saab 29 prototypes conducted its maiden flight, which lasted for half an hour. Because of the shape of its fuselage, the Saab J 29 quickly received the nickname "Flygande Tunnan" ("The Flying Barrel"), or "Tunnan" ("The Barrel") for short. While the demeaning nickname was not appreciated by Saab, its short form was eventually officially adopted.
A total of four prototypes were built for the aircraft's test program. The first two lacked armament, carrying heavy test equipment instead, while the third prototype was armed with four 20mm automatic guns. Various different aerodynamic arrangements were tested, such as air brakes being installed either upon the fuselage or on the wings aft of the rear spar, along with both combined and conventional aileron/flap arrangements.
The flight test program revealed that the J 29 prototypes were capable of reaching and exceeding the maximum permissible Mach number for which they had been designed, and the flight performance figures gathered were found to be typically in excess of the predicted values.
In 1948 production of the type commenced and in May 1951 the first deliveries of operational production aircraft were received by F 13 Norrköping. The J 29 proved to be very successful and several variants and updates of the Tunnan were produced, including a dedicated reconnaissance variant and a dedicated all-weather fighter with an on-board radar, the J 29D.
The J 29D variant originally started its career as a single prototype to test the Ghost RM 2A afterburner turbojet with 27.5 kN (2,800 kgp/6,175 lbf). The new engine dramatically improved the Tunnan’s performance, esp. concerning the start phase, acceleration and climb, and was eventually adopted for the whole J 29 fighter fleet in an update program, leading to the J 29F variant.
However, at the time of the RM 2A trials, Sweden was more and more in need for a suitable all-weather aerial defense for its vast, neutral airspace in the vicinity of the Soviet Union. Only a single flight of the Swedish Air Force, F1 in Hässlö, operated roundabout thirty radar-equipped fighters, and these were outdated De Havilland Mosquito night fighters (locally designated J 30).
The highly successful J 29 was soon considered as a potential air-intercept radar carrier, offering a much more up-tp-date performance and deterrent potential against would-be intruders. Consequently, Saab started the development of an indigenous all-weather fighter on the basis of the Tunnan (originally coded “J 29R”). The work started with aerodynamic trials of different radome designs and placements on a Tunnan’s nose, e .g. inside of the circular air intake opening or above it. No major drawbacks were identified, and in 1955 the decision was made to convert thirty J 29B daylight fighters for the all weather/night fighter role. These machines officially inherited the designation J 29D.
The J 29D’s compact radar, called the PS-43/T, was designed by CSF (Compagnie Generale de Telegrahpi Sans Fil) in France after the Swedish specification. It had a wavelength of 3 cm with an effect of 100 kW, and it was to have a spiral scan pattern. Range was 15-20 km, only a slight improved against the Mosquitos’ bulky SCR-720B radar set, which only had a range of 12-16km. But the system’s compact size and the ability to be operated by the pilot alone meant a serious step forward. 34 sets were delivered together with blueprints in 1956, and the PS-43 radar system was later modified and adapted to the Saab 32 Lansen, too.
The structural modifications for the radar-equipped Tunnan were carried out in the course of the ensuing J 29F update program, which had started in 1954. Beyond the afterburner engine and dogtooth wing updates for the day fighters, the J 29D also received a re-designed nose section which now featured a thimble radome for the PS-43/T, integrated into the upper air intake lip, reminiscent of the F-86D’s arrangement. The air intake itself kept the original circular diameter, but the opening was slightly wider, raked forward and featured a sharper lip, for an improved airflow under the radome. Overall performance of the J 29 did not suffer, and the conversion took place swiftly thanks to a simple replacement of the nose section in front of the windscreen and the installation of a shielded tracking monitor in the cockpit.
Experiments with a heavier cannon armament (consisting of four, long-barreled 30mm guns in the lower fuselage) for the J 29 in general were conducted in parallel, too. But, despite showing no negative effect on the J 29’s handling or performance, this upgrade was not introduced to any of the J 29 variants in service and so the J 29D kept its original four 20mm cannon as main armament, too. Additional ordnance consisted of optional racks with 75 mm/3 in air-to-air rockets under the inner wings against large aerial targets like bombers. A pair of drop tanks could be carried on the outer pylons, too, and they were frequently carried in order to extend range and loiter time. Other loads, including bombs or unguided air-to-ground missiles, were possible, but never carried except for in practice.
The last converted J 29D was delivered back to the Swedish Air Force in late 1956, just in time to replace the last active J 30 Mosquitos in service, which had been gradually phased out since 1953. In parallel, the radar-equipped J 33 Venom was introduced into service, too, since the small number of J 29Ds had in the meantime turned out to be far from sufficient to effectively cover the Swedish air space against large numbers of ever faster jet bombers and reconnaissance aircraft. The J 29D fulfilled its role and duty well, though, and was just as popular as the daylight fighter versions.
Initially, all J 29D were delivered in bare metal finish, but they were soon adorned with additional markings on fin and wing tips for easier recognition and formation flights. A few all-weather fighters of F1 Flygflottil experimentally received the blue/green camouflage which had been adopted for the S 29C reconnaissance aircraft, but this was found to be ineffective at the typical altitudes the interceptors would operate. As a consequence, the scheme was quickly changed into the much lighter livery of the former J 30 and J 33 fighters, although the bare metal undersides and the formation markings under the wing tips were retained – even though this practice was confined to F 1 and not consequently carried out among all of the fighter squadron's J 29Ds. Some J 29D furthermore carried various forms of black ID bands for quick identification in war games, but unlike the day fighters, these markings were limited to the undersides only.
From 1963 onwards all frontline J 29Fs were equipped with AIM-9 Sidewinder infrared-seeking air-to-air missiles, designated Rb 24 in Swedish service. This update was also carried out among the J 29D fleet, and the new, guided missiles considerably improved the aircraft’s capabilities.
Anyway, the J 29D’s small number remained a fundamental problem that prevented bigger success or even export sales, and due to the quick technical advances, the J 29D remained only a stopgap solution. The much more capable Saab 32 Lansen had been under development and its dedicated all-weather fighter variant, the J 32B, had already entered service in 1958, replacing the mixed and outdated lot of radar-equipped fighters in Swedish service.
Nevertheless, the J 29D soldiered on, together with the rest of the J 29F and S 29C fleet, until 1970, even though not in front line duties anymore.
General characteristics:
Crew: 1
Length: 10.80 m (35 ft 4 1/2 in)
Wingspan: 11.0 m (36 ft 1 in)
Height: 3.75 m (12 ft 4 in)
Wing area: 24.15 m² (260.0 ft²)
Empty weight: 4,845 kg (10,680 lb)
Max. takeoff weight: 8,375 kg (18,465 lb)
Powerplant:
1× Svenska Flygmotor RM2B afterburner turbojet, rated at 6,070 lbf (27 kN)
Performance:
Maximum speed: 1,060 km/h (660 mph)
Range: 1,100 km (685 mi)
Service ceiling: 15,500 m (50,850 ft)
Rate of climb: 32.1 m/s (6,320 ft/min)
Armament:
4x 20mm Hispano Mark V autocannon in the lower front fuselage
Typically, a pair of 400-liter (106 US gallon) or 500-liter (132 US gallon) drop tanks was carried on the outer “wet” pylons
Further air-to-air ordnance initially consisted of 75 mm (3 in) air-to-air rockets, from 1963 onwards the J 29D could also carry up to 4x Rb 24 (AIM-9B Sidewinder) IR-guided air-to-air missiles.
Optionally (but never carried in service), the J 29D could also deploy a wide range of bombs and unguided missiles, including 145 mm (5.8 in) anti-armor rockets, 150 mm (6 in) HE (high-explosive) rockets or 180 mm (7.2 in) HE anti-ship rockets
The kit and its assembly:
Sweden is a prolific whiffing territory, and the Saab 29 offers some interesting options. The all-weather Tunnan was a real Saab project, and things actually got as far as the aforementioned radome shape test stage. But eventually the project was fully dropped, since Saab had been busy with standard J 29 production and conversions, so that this aircraft never materialized, just as the projected side-by-side trainer Sk 29 of the same era.
However, I recently came across a nice Saab 29 book which also covers some projects – including drawings of the radar-equipped Tunnan that never was. My converted model with the thimble radome and the raked air intake is based on these drawings.
The basic kit is the Heller Saab 29, which I deem superior to the Matchbox Tunnan, with its mix of raised and engraved panel lines and overall rather soft detail (despite the surprisingly nice cockpit). Anyway,, the Heller kit has its flaws, too, e. g. a generally weak material thickness, lack of locator pins or other stabilizing aids and some sinkholes here and there.
The kit was built mostly OOB, with as much lead in the gun tray as possible - and it actually stands on its own three feet/wheels! The only major change is the modified nose section. It sounds simple to graft a radome onto the Tunnan's nose, but the rhinoplasty was challenging. The whole front end had to be renewed, based on the profile drawings and sketches at hand.
The thimble radome is actually a recycled drop tank front end from a Hasegawa F6F Hellcat. The raked, lower aitr intake lip comes from a Matchbox Mystère IVA - but it lost its splitter, was reshaped and had the OOB air intake duct glued into place from behind. Once the intake was glued into its place, a wedge opeing was cut into the area in front of the canopy and the drop tank radome adapted to the gap, a step-by-step approach, since I wanted to have the radome slightly protrude into the airtake, but also keep a staright line in front of the windscreen.
Additional details include new pitots on the wing tips and some additional antennae. The heat shield for the afterburner engine is OOB, as well as the streamlined drop tanks and their pylons. I just added an additional pair of pylons (from an Acedamy MiG-23) to the inner wing, holding a pair of AIM-9Bs.
Painting and markings:
Finding a suitable, yet “different” scheme for the J 29 night fighter was not easy; most J 29 were left in bare metal, some carried dark green upper surfaces and some S 29C wore a paint scheme in olive green and dark blue. I eventually settled for the RAF style paint scheme that had been adopted with the J 30 Mosquito and J 33 Venom night fighters – not spectacular, but different from the Swedish early Sixties norm, and it subtly underlines the J 29D’s role.
The scheme was lent from RAF Venom night fighters (which was used on the Swedish J 33, too), and of the upper surfaces I used RAF tones, too: Humbrol 163 (Dark Green) and 165 (Medium Sea Grey). However, I did not want to use the grey on the lower surfaces, since I found that scheme a bit too uniform and British, so I painted the lower surfaces in NMF, with a waterline at medium height - higher than the camouflaged S 29C’s and lower than the early, camouflaged J 29A fighters (with an experimental all-green upper surface).
The bare metal finish was created with acrylic Aluminum (Revell 99) and Polished and Matt Aluminum Metallizer (Humbrol) added on top, highlighting single panels. Around the engine bay and the exhaust, a base with Iron (Revell 91) was laid down, with Steel Metallizer (Modelmaster) on top.
Under the wing tips, green formation markings (again Humbrol 163) were added, as well as black ID stripes (cut from generic decal sheet material). Other, Swedish adornment, like the roundels, codes or squadron markings, was taken from the OOB sheet, a PrintScale sheet for the J 29 and leftover decals from a Heller J 21.
Interior details were painted according to Swedish standard, thankfully there are many good pictures available. The cockpit interior became grey-green (Revell 67 comes very close to the real thing) with light grey dashboard and side consoles. The landing gear wells medium (Revell 57) grey with some dry-brushed Aluminum, while the wheel discs became grey-green, too.
An interesting result, through relatively little effort: the dog nose changes the look of the tubby J 29 a lot, it looks much sleeker and somewhat German now – but somehow also more retro than the original aircraft? The different paint scheme looks unusual, too, despite being relatively down-to-earth. This will certainly not be my last modified J 29, a two-seat trainer would certainly be another cool and reality based Tunnan whif?
The Castle has been deboxed. Here it is with the rear half opened up to the sides, so the inner spaces can be utilized, and so the special effects activated by the 'key' figures can be accessed.
I got the Disney Animators' Collection Deluxe Sleeping Beauty Castle Play Set today. It came in a huge box. The castle has three stories, and the back opens up make it almost twice as wide. It has 17 figures including many of the cast of the animated Sleeping Beauty. Princess Aurora and Prince Phillip are depicted as toddlers. Many of the figures have glitter, but they don't shed too much. There is a button in the front of the castle that activates simulated fireworks lights and sounds. Aurora, Phillip and the three Good Fairies have magnets on their bases. When placed on or near the blue crown symbols printed on the floor, they activate special effects. I show the special effects in several short videos. It is a very cute playset, but since I don't have room to display it, it has already gone back in its box, for storage.
P.S. To get the full effects, you have to move the switch under the castle from Test (I) to On (O with vertical line through it).
Disney Animators' Collection Deluxe Sleeping Beauty Castle Play Set
US Disney Store
$119.95
Qty (Limit 2)
Item No. 6002047620638P
Eyes will be wide with wonder for this deluxe surprise feature play set from the Disney Animators' Collection. Relive the tale of Sleeping Beauty with Princess Aurora and her supporting cast, plus lights, sounds, a spinning dance floor, and more!
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
Magic in the details
Please note: Purchase of this item is limited to 2 per Guest
• 17 pieces in all!
• Three-level, fold-open multi-room castle play set with staircase, balcony, turrets, doors, windows, stable, and pull-out spinning dance floor
• Includes Princess Aurora, Prince Phillip, Flora, Fauna, and Merryweather figures that act as magic ''keys''
• Activate lights and sounds and more by placing ''key'' figures on the Tiara symbols hidden in the play set
• Place on top level to activate instrumental music, on mid-level to activate lights and fanfare
• Press test button on front step to see and hear surprise ''fireworks''
• On/Off/Test switch on bottom
• Accessories include Samson, Owl (in cape), Rabbit (in boot), and Squirrel figures, plus spinning wheel, birthday cake, royal cradle, two thrones, two chairs, and table
• Glitter accents
• Celebrating the 60th Anniversary of Walt Disney's Sleeping Beauty (1959) in 2019
• Part of the Disney Animators' Collection
The bare necessities
• Ages 3+
• Requires 3 AAA batteries, included
• Plastic / electronics
• Castle 15'' H x 14'' W x 8'' D (when closed, opens to 23'' W)
• Figures up to 1 3/4'' H
• Imported
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the aftermath of the Second World War, Sweden required a strong air defense, utilizing the newly developed jet propulsion technology. This led to a pair of proposals being issued by the Saab design team, led by Lars Brising. The first of these, codenamed R101, was a cigar-shaped aircraft, which bore a resemblance to the American Lockheed P-80 Shooting Star. The second design, which would later be picked as the winner, was a barrel-shaped design, codenamed R 1001, which proved to be both faster and more agile upon closer study.
The original R 1001 concept had been designed around a mostly straight wing, but after Swedish engineers had obtained German research data on swept-wing designs, the prototype was altered to incorporate a 25° sweep. In order to make the wing as thin as possible, Saab elected to locate the retractable undercarriage in the aircraft's fuselage rather than into the wings.
Extensive wind tunnel testing performed at the Swedish Royal University of Technology and by the National Aeronautical Research Institute had also influenced aspects of the aircraft's aerodynamics, such as stability and trim across the aircraft's speed range. In order to test the design of the swept wing further and avoid any surprises, it was decided to modify a single Saab Safir. It received the designation Saab 201 and a full-scale R 1001 wing for a series of flight tests. The first 'final' sketches of the aircraft, incorporating the new information, was drawn in January 1946.
The originally envisioned powerplant for the new fighter type was the de Havilland Goblin turbojet engine. However, in December 1945, information on the newer and more powerful de Havilland Ghost engine became available. The new engine was deemed to be ideal for Saab's in-development aircraft, as not only did the Ghost engine had provisions for the use of a central circular air intake, the overall diameter of the engine was favorable for the planned fuselage dimensions, too. Thus, following negotiations between de Havilland and Saab, the Ghost engine was selected to power the type instead and built in license as the RM 2.
By February 1946 the main outline of the proposed aircraft had been clearly defined. In Autumn 1946, following the resolution of all major questions of principal and the completion of the project specification, the Swedish Air Force formally ordered the completion of the design and that three prototype aircraft be produced, giving the proposed type the designation J 29.
On 1 September 1948, the first of the Saab 29 prototypes conducted its maiden flight, which lasted for half an hour. Because of the shape of its fuselage, the Saab J 29 quickly received the nickname "Flygande Tunnan" ("The Flying Barrel"), or "Tunnan" ("The Barrel") for short. While the demeaning nickname was not appreciated by Saab, its short form was eventually officially adopted.
A total of four prototypes were built for the aircraft's test program. The first two lacked armament, carrying heavy test equipment instead, while the third prototype was armed with four 20mm automatic guns. Various different aerodynamic arrangements were tested, such as air brakes being installed either upon the fuselage or on the wings aft of the rear spar, along with both combined and conventional aileron/flap arrangements.
The flight test program revealed that the J 29 prototypes were capable of reaching and exceeding the maximum permissible Mach number for which they had been designed, and the flight performance figures gathered were found to be typically in excess of the predicted values.
In 1948 production of the type commenced and in May 1951 the first deliveries of operational production aircraft were received by F 13 Norrköping. The J 29 proved to be very successful and several variants and updates of the Tunnan were produced, including a dedicated reconnaissance variant and a dedicated all-weather fighter with an on-board radar, the J 29D.
The J 29D variant originally started its career as a single prototype to test the Ghost RM 2A afterburner turbojet with 27.5 kN (2,800 kgp/6,175 lbf). The new engine dramatically improved the Tunnan’s performance, esp. concerning the start phase, acceleration and climb, and was eventually adopted for the whole J 29 fighter fleet in an update program, leading to the J 29F variant.
However, at the time of the RM 2A trials, Sweden was more and more in need for a suitable all-weather aerial defense for its vast, neutral airspace in the vicinity of the Soviet Union. Only a single flight of the Swedish Air Force, F1 in Hässlö, operated roundabout thirty radar-equipped fighters, and these were outdated De Havilland Mosquito night fighters (locally designated J 30).
The highly successful J 29 was soon considered as a potential air-intercept radar carrier, offering a much more up-tp-date performance and deterrent potential against would-be intruders. Consequently, Saab started the development of an indigenous all-weather fighter on the basis of the Tunnan (originally coded “J 29R”). The work started with aerodynamic trials of different radome designs and placements on a Tunnan’s nose, e .g. inside of the circular air intake opening or above it. No major drawbacks were identified, and in 1955 the decision was made to convert thirty J 29B daylight fighters for the all weather/night fighter role. These machines officially inherited the designation J 29D.
The J 29D’s compact radar, called the PS-43/T, was designed by CSF (Compagnie Generale de Telegrahpi Sans Fil) in France after the Swedish specification. It had a wavelength of 3 cm with an effect of 100 kW, and it was to have a spiral scan pattern. Range was 15-20 km, only a slight improved against the Mosquitos’ bulky SCR-720B radar set, which only had a range of 12-16km. But the system’s compact size and the ability to be operated by the pilot alone meant a serious step forward. 34 sets were delivered together with blueprints in 1956, and the PS-43 radar system was later modified and adapted to the Saab 32 Lansen, too.
The structural modifications for the radar-equipped Tunnan were carried out in the course of the ensuing J 29F update program, which had started in 1954. Beyond the afterburner engine and dogtooth wing updates for the day fighters, the J 29D also received a re-designed nose section which now featured a thimble radome for the PS-43/T, integrated into the upper air intake lip, reminiscent of the F-86D’s arrangement. The air intake itself kept the original circular diameter, but the opening was slightly wider, raked forward and featured a sharper lip, for an improved airflow under the radome. Overall performance of the J 29 did not suffer, and the conversion took place swiftly thanks to a simple replacement of the nose section in front of the windscreen and the installation of a shielded tracking monitor in the cockpit.
Experiments with a heavier cannon armament (consisting of four, long-barreled 30mm guns in the lower fuselage) for the J 29 in general were conducted in parallel, too. But, despite showing no negative effect on the J 29’s handling or performance, this upgrade was not introduced to any of the J 29 variants in service and so the J 29D kept its original four 20mm cannon as main armament, too. Additional ordnance consisted of optional racks with 75 mm/3 in air-to-air rockets under the inner wings against large aerial targets like bombers. A pair of drop tanks could be carried on the outer pylons, too, and they were frequently carried in order to extend range and loiter time. Other loads, including bombs or unguided air-to-ground missiles, were possible, but never carried except for in practice.
The last converted J 29D was delivered back to the Swedish Air Force in late 1956, just in time to replace the last active J 30 Mosquitos in service, which had been gradually phased out since 1953. In parallel, the radar-equipped J 33 Venom was introduced into service, too, since the small number of J 29Ds had in the meantime turned out to be far from sufficient to effectively cover the Swedish air space against large numbers of ever faster jet bombers and reconnaissance aircraft. The J 29D fulfilled its role and duty well, though, and was just as popular as the daylight fighter versions.
Initially, all J 29D were delivered in bare metal finish, but they were soon adorned with additional markings on fin and wing tips for easier recognition and formation flights. A few all-weather fighters of F1 Flygflottil experimentally received the blue/green camouflage which had been adopted for the S 29C reconnaissance aircraft, but this was found to be ineffective at the typical altitudes the interceptors would operate. As a consequence, the scheme was quickly changed into the much lighter livery of the former J 30 and J 33 fighters, although the bare metal undersides and the formation markings under the wing tips were retained – even though this practice was confined to F 1 and not consequently carried out among all of the fighter squadron's J 29Ds. Some J 29D furthermore carried various forms of black ID bands for quick identification in war games, but unlike the day fighters, these markings were limited to the undersides only.
From 1963 onwards all frontline J 29Fs were equipped with AIM-9 Sidewinder infrared-seeking air-to-air missiles, designated Rb 24 in Swedish service. This update was also carried out among the J 29D fleet, and the new, guided missiles considerably improved the aircraft’s capabilities.
Anyway, the J 29D’s small number remained a fundamental problem that prevented bigger success or even export sales, and due to the quick technical advances, the J 29D remained only a stopgap solution. The much more capable Saab 32 Lansen had been under development and its dedicated all-weather fighter variant, the J 32B, had already entered service in 1958, replacing the mixed and outdated lot of radar-equipped fighters in Swedish service.
Nevertheless, the J 29D soldiered on, together with the rest of the J 29F and S 29C fleet, until 1970, even though not in front line duties anymore.
General characteristics:
Crew: 1
Length: 10.80 m (35 ft 4 1/2 in)
Wingspan: 11.0 m (36 ft 1 in)
Height: 3.75 m (12 ft 4 in)
Wing area: 24.15 m² (260.0 ft²)
Empty weight: 4,845 kg (10,680 lb)
Max. takeoff weight: 8,375 kg (18,465 lb)
Powerplant:
1× Svenska Flygmotor RM2B afterburner turbojet, rated at 6,070 lbf (27 kN)
Performance:
Maximum speed: 1,060 km/h (660 mph)
Range: 1,100 km (685 mi)
Service ceiling: 15,500 m (50,850 ft)
Rate of climb: 32.1 m/s (6,320 ft/min)
Armament:
4x 20mm Hispano Mark V autocannon in the lower front fuselage
Typically, a pair of 400-liter (106 US gallon) or 500-liter (132 US gallon) drop tanks was carried on the outer “wet” pylons
Further air-to-air ordnance initially consisted of 75 mm (3 in) air-to-air rockets, from 1963 onwards the J 29D could also carry up to 4x Rb 24 (AIM-9B Sidewinder) IR-guided air-to-air missiles.
Optionally (but never carried in service), the J 29D could also deploy a wide range of bombs and unguided missiles, including 145 mm (5.8 in) anti-armor rockets, 150 mm (6 in) HE (high-explosive) rockets or 180 mm (7.2 in) HE anti-ship rockets
The kit and its assembly:
Sweden is a prolific whiffing territory, and the Saab 29 offers some interesting options. The all-weather Tunnan was a real Saab project, and things actually got as far as the aforementioned radome shape test stage. But eventually the project was fully dropped, since Saab had been busy with standard J 29 production and conversions, so that this aircraft never materialized, just as the projected side-by-side trainer Sk 29 of the same era.
However, I recently came across a nice Saab 29 book which also covers some projects – including drawings of the radar-equipped Tunnan that never was. My converted model with the thimble radome and the raked air intake is based on these drawings.
The basic kit is the Heller Saab 29, which I deem superior to the Matchbox Tunnan, with its mix of raised and engraved panel lines and overall rather soft detail (despite the surprisingly nice cockpit). Anyway,, the Heller kit has its flaws, too, e. g. a generally weak material thickness, lack of locator pins or other stabilizing aids and some sinkholes here and there.
The kit was built mostly OOB, with as much lead in the gun tray as possible - and it actually stands on its own three feet/wheels! The only major change is the modified nose section. It sounds simple to graft a radome onto the Tunnan's nose, but the rhinoplasty was challenging. The whole front end had to be renewed, based on the profile drawings and sketches at hand.
The thimble radome is actually a recycled drop tank front end from a Hasegawa F6F Hellcat. The raked, lower aitr intake lip comes from a Matchbox Mystère IVA - but it lost its splitter, was reshaped and had the OOB air intake duct glued into place from behind. Once the intake was glued into its place, a wedge opeing was cut into the area in front of the canopy and the drop tank radome adapted to the gap, a step-by-step approach, since I wanted to have the radome slightly protrude into the airtake, but also keep a staright line in front of the windscreen.
Additional details include new pitots on the wing tips and some additional antennae. The heat shield for the afterburner engine is OOB, as well as the streamlined drop tanks and their pylons. I just added an additional pair of pylons (from an Acedamy MiG-23) to the inner wing, holding a pair of AIM-9Bs.
Painting and markings:
Finding a suitable, yet “different” scheme for the J 29 night fighter was not easy; most J 29 were left in bare metal, some carried dark green upper surfaces and some S 29C wore a paint scheme in olive green and dark blue. I eventually settled for the RAF style paint scheme that had been adopted with the J 30 Mosquito and J 33 Venom night fighters – not spectacular, but different from the Swedish early Sixties norm, and it subtly underlines the J 29D’s role.
The scheme was lent from RAF Venom night fighters (which was used on the Swedish J 33, too), and of the upper surfaces I used RAF tones, too: Humbrol 163 (Dark Green) and 165 (Medium Sea Grey). However, I did not want to use the grey on the lower surfaces, since I found that scheme a bit too uniform and British, so I painted the lower surfaces in NMF, with a waterline at medium height - higher than the camouflaged S 29C’s and lower than the early, camouflaged J 29A fighters (with an experimental all-green upper surface).
The bare metal finish was created with acrylic Aluminum (Revell 99) and Polished and Matt Aluminum Metallizer (Humbrol) added on top, highlighting single panels. Around the engine bay and the exhaust, a base with Iron (Revell 91) was laid down, with Steel Metallizer (Modelmaster) on top.
Under the wing tips, green formation markings (again Humbrol 163) were added, as well as black ID stripes (cut from generic decal sheet material). Other, Swedish adornment, like the roundels, codes or squadron markings, was taken from the OOB sheet, a PrintScale sheet for the J 29 and leftover decals from a Heller J 21.
Interior details were painted according to Swedish standard, thankfully there are many good pictures available. The cockpit interior became grey-green (Revell 67 comes very close to the real thing) with light grey dashboard and side consoles. The landing gear wells medium (Revell 57) grey with some dry-brushed Aluminum, while the wheel discs became grey-green, too.
An interesting result, through relatively little effort: the dog nose changes the look of the tubby J 29 a lot, it looks much sleeker and somewhat German now – but somehow also more retro than the original aircraft? The different paint scheme looks unusual, too, despite being relatively down-to-earth. This will certainly not be my last modified J 29, a two-seat trainer would certainly be another cool and reality based Tunnan whif?
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the aftermath of the Second World War, Sweden required a strong air defense, utilizing the newly developed jet propulsion technology. The original concept had been designed around a mostly straight wing, but after Swedish engineers had obtained German research data on swept-wing designs, the prototype was altered to incorporate a 25° sweep. In order to make the wing as thin as possible, Saab elected to locate the retractable undercarriage in the aircraft's fuselage rather than into the wings.
Extensive wind tunnel testing had also influenced aspects of the aircraft's aerodynamics, such as stability and trim across the aircraft's speed range. In order to test the design of the swept wing further and avoid any surprises, it was decided to modify a Saab Safir. It received the designation Saab 201 and a full-scale swept wing for a series of flight tests. The first 'final' sketches of the aircraft, incorporating the new information, were drawn in January 1946.
The originally envisioned powerplant for the new fighter type was the de Havilland Goblin turbojet engine. However, in December 1945, information on the newer and more powerful de Havilland Ghost engine became available. The new engine was deemed to be ideal for Saab's in-development aircraft, as not only did the Ghost engine had provisions for the use of a central circular air intake, the overall diameter of the engine was favorable for the planned fuselage dimensions, too. Thus, following negotiations between de Havilland and Saab, the Ghost engine was selected to power the type and built in license as the RM 2.
By February 1946 the main outline of the proposed aircraft had been clearly defined. In autumn 1946, following the resolution of all major questions of principal and the completion of the project specification, the Swedish Air Force formally ordered the completion of the design and that three prototype aircraft be produced, giving the proposed type the designation J 29. After a thorough test program, production of the type commenced in 1948 and, in May 1951, the first deliveries of operational production aircraft were received by F 13 Norrköping. The J 29 proved to be very successful and several variants and updates of the Tunnan were produced, including a dedicated reconnaissance variant, a two seat trainer and an all-weather fighter with an onboard radar
However, Sweden foresaw that there would soon be a need for a jet fighter that could intercept bombers at high altitude and also successfully engage fighters. During September 1949, the Swedish Air Force, via the Swedish Defence Material Administration, released a requirement for a cutting-edge interceptor aircraft that was envisioned to be capable of attacking hostile bomber aircraft in the transonic speed range. As released, this requirement specified a top speed of Mach speed 1.4 to 1.5. (1956, the specified speed was revised and raised to Mach 1.7-1.8, and eventually led to the Saab 35 Draken). With the barely supersonic Saab 32 Lansen just under development, and intended for different roles than being a nimble day fighter, the company searched for a way to either achieve supersonic flight through modifications of an existing type or at least gather sufficient data and develop and try the new technologies necessary to meet the 1949 requirements.
Since Sweden did not have a truly supersonic aircraft in its inventory (not even an experimental type), Saab decided to convert the Saab 29 into a supersonic testbed, with the outlook to develop an interim day fighter that could replace the various Tunnan fighter versions and support the new Lansen fleet until a fully capable Mach 1.5+ interceptor was ready for service. Even though the type was regarded as a pure experimental aircraft, the designation remained close to the J29 nomenclature in order to secure military funding for the project and to confuse eventual spies. Consequently, the P29 was initially presented as a new J29 version (hence the “G” suffix).
The P29G was based on a heavily modified production J29B airframe, which was built in two versions and only in two specimens. Work on the first airframe started in 1952, just when the first Saab 32 prototype made its maiden flight. The initial challenge consisted of integrating two relatively compact axial flow jet engines with afterburners into the fuselage, since the J29’s original RM2, even in its late afterburner variant, was not able to safely deliver the necessary thrust for the intended supersonic flight program. After long negotiations, Saab was able to procure a small number of Westinghouse J34-WE-42 turbojets from the USA, which delivered as a pair 40% more thrust than the original RM2B. The engines were only delivered under the restriction that they would exclusively be used in connection with the supersonic research program.
Through a thorough re-construction, the Saab team was able to mount the new engines into the lower rear fuselage, and, internally, the air intake duct had to be modified and forked behind the landing gear wells. Due to the significantly widened rear fuselage, the P29G became quickly nicknamed “Kurviga Tunnan” (= “Curvy Barrel”). Even though the widened rear fuselage increased the aircraft’s frontal cross section, the modified shape had the (unintended) effect of area ruling, a welcome side benefit which became apparent during the flight test and which largely promoted the P29G’s gain of top speed.
Another special and unique feature of the P29G was a special wing attachment system. It consisted of two strengthened, open box spars in the fuselage with additional attachment points along the wing roots, which allowed different wings to be switched with relatively little effort. However, due to this modification, the wing tanks (with a total capacity of 900l inside of the J29s standard wings) were lost and only 2.150l in the Saab 29’s standard fuselage tanks could be carried – but this was, for a research aircraft, not regarded as a major weakness, and compensated for the wing attachment system’s additional weight. The original wing-mounted pitots were replaced by a single, massive sensor boom attached to the aircraft’s nose above the air intake, slightly set-off to starboard in order to give the pilot an unobstructed view.
The first P29G's maiden flight, marked “Gul Urban” (Yellow U), took place in July 1955. The aircraft behaved normally, even though the center of gravity had markedly shifted backwards and the overall gain of weight made the aircraft slightly unstable along the longitudinal axis. During the initial, careful attempts to break the sound barrier, it soon became apparent that both the original wings as well as the original air intake shape limited the P29G's potential. In its original form, the P29G could only barely pass Mach 1 in level flight.
As a consequence, the second P29G, which had been under conversion from another J29B airframe since mid-1954, received more thorough modifications. The air intake was lengthened and widened, and in order to make it more effective at supersonic speed it received a sharp lip. Wind tunnel tests with the first machine led to a modified tail, too: the fin was now taller and further swept back, the stabilizer was moved to a higher position, resulting in a cruciform layout. The original single-piece stabilizer was furthermore replaced by a two-piece, all-moving construction with a 45° sweep and a thinner profile. This not only improved the aerodynamics at high speed, it also suppressed the longitudinal instability problem, even though this was never really cured.
Due to the even higher all-up weight of the new aircraft, the landing gear was reinforced and the 2nd P29G received an experimental suspension system on its main legs with higher spring travel, which was designed for operations on semi-prepared airfields. This system had actually been designed for the updated J29 fighters (esp. the A32B attack variant), but it was not introduced into series production or the Saab 29E/F conversion program. Despite these massive changes, the P29G designation was retained, and the second machine, carrying the tactical code “Röd Urban” (Red U), was quickly nicknamed “Karpen” (“Carp”), due to its characteristic new intake shape, the long fin and its stocky shape.
The second P29G was ready for flight tests in August 1956, just in time to support the Saab 35’s ongoing development – the aircraft, which was eventually built to meet (and exceed) the Swedish Air Force’s 1949 supersonic interceptor requirement. The modifications proved to be successful and the P29G was, fitted with a 60° sweep wing and in clean configuration, able to achieve a maximum speed of 1.367 km/h (849 mph) in level flight, a formidable achievement (vs. the 1,060 km/h (660 mph) of the late J29F and the 1200 km/h (745 mph) of the J32B interceptor) for the post WWII design.
Several wing shapes and profiles were tested, including sweep angles from 25° to 63° as well as different shapes and profiles. Even though the machines carried provisions for the J29’s standard armament, the 20 mm cannons were normally not mounted and replaced with sensors and recording equipment. However, both machines were temporarily fitted with one or two guns in order to analyze the effects of firing the weapons at supersonic speed. Underwing ordnance was also almost never carried. In some tests, though, light bombs or unguided missiles were carried and deployed, or podded cine cameras were carried.
While the second P29G was used for high speed trials, the first machine remained in its original guise and took over low speed handling tests. Thanks to the unique wing switch mechanism, the supersonic research program could be held within a very tight schedule and lasted until late 1959. Thereafter, the P29Gs’ potential was of little use anymore, and the engine use agreement with the USA put an end to further use of the two aircraft, so that both P29Gs were retired from service in 1960. The 1st machine, outfitted with standard J29F wings and stripped off of its engines, remained in use as an instructional air at Malmslätt air base 1969, while the second machine was mothballed. However, both airframes were eventually scrapped in 1970.
General characteristics:
Crew: 1
Length: 11.66 m (38 ft 2 in) fuselage only,
13,97 m (45 ft 9 in) with pitot boom
Wingspan: varied*; 11.0 m (36 ft 1 in) with standard 25° sweep wings,
10.00 m (32 ft 9 ¾ in) with experimental 45° wings
Height: 4.54m (14 ft 10 ½ in)
Wing area: varied*; 24.15 m² (260.0 ft²) with standard 25° sweep wings
22.5 m² (242.2 ft²) with experimental 45° wings
Empty weight: 5,220 kg (11,500 lb)
Max. takeoff weight: 8,510 kg (18,744 lb)
Powerplant:
2× Westinghouse J34-WE-42 turbojets, each rated at 3,400 lbf (15 kN) dry thrust
and 4,200 lbf (19 kN) with full afterburner
Performance:
Maximum speed: 1.367 km/h (849 mph) were achieved*
Range: 790 km (490 mi)
Service ceiling: up to 17,250 m (56,500 ft)*
Rate of climb: up to 45 m/s (8,850 ft/min)*
*Varying figures due to different tested wing configurations
Armament:
None installed; provisions for 4x 20mm Hispano Mark V autocannon in the lower front fuselage.
Depending on the mounted wing type, various external loads could be carried, including a wide range of light bombs, 75 mm (3 in) air-to-air rockets, 145 mm (5.8 in) anti-armor rockets, 150 mm (6 in) HE (high-explosive) rockets or 180 mm (7.2 in) HE anti-ship rockets. Due to the lack of complex wiring or fuel plumbing, no guided weapons or drop tanks could be mounted, though.
The kit and its assembly:
Sweden is a prolific whiffing territory, and the Saab 29 offers some interesting options. This highly modified Tunnan, which is actually rather a kitbashing than a mere model kit modification, is/was a submission to the “More or less engines” group build at whatifmodelers.com in summer 2019.
I actually had the idea of a two-engine J29 in the back of my mind for a long time, spawned by a resin conversion set for the Hasegawa B-47 Stratojet kit that came with new intakes and exhaust sections for the four engine pods. The single engine pod parts had been spent a long time ago, but the twin engine parts were still waiting for a good use. Could the exhaust fit under/into a Tunnan…?
I even had a Matchbox J29 stashed away for this experiment long ago, as well as some donor parts like the wings, and the GB eventually offered the right motivation to put those things together that no one would expect to work.
So I pulled out all the stuff and started – a rather straightforward affair. Work started with the fuselage, which was, together with the (very nice) cockpit assembled OOB at first, the nose filled with as much lead as possible and with the lower rear section cut away, so the B-47 resin jet nozzles would end up at the same position as the original RM2B exhaust. Due to the pen nib fairing between them, though, the profile of the modified tail became (visually) more massive, and I had to fill some gaps under the tail boom (with styrene sheet and putty). The twin engines also turned out to be wider than expected – I had hoped for straight flanks, but the fuselage shape ended up with considerable bulges behind the landing gear wells. These were created with parts from drop tank halves and blended into the rest of the lower hill with PSR work. In the same wake the area under the fin was sculpted and re-created, too.
At that point it became clear that I had to do more on the fuselage, esp. the front end, in order to keep the aircraft visually balance. A convenient solution became an F-100 air intake, which I grafted onto the nose instead of the original circular and round-lipped orifice – with its sharp lip the Super Sabre piece was even a plausible change! The fuselage shapes and diameters differed considerably, though, more PSR became necessary.
Next came the wings: I had already set apart a pair of trapezoid wings with a 45° sweep angle – these were left over from a PM Model Ta 183 conversion some time ago. With their odd shape and size they were a perfect match for my project, even more so due to the fact that I could keep the original J29 wing attachment points, I just had to shorten and modify the trailing edge area on the fuselage. The result was very conclusive.
With the new nose and the wings in place, the overall proportions became clearer: still tail-heavy, but not unpleasant. At this time I was also certain that I had to modify the tail surfaces. The fin was too small and did not have enough sweep for the overall look, and the stabilizer, with its thick profile, rounded edges and the single, continuous rudder did not look supersonic at all. What followed was a long search in the donor banks for suitable replacements, and I eventually came up with a MiG-15 fin (Hobby Boss) which was later clipped at the top for a less recognizable profile. The stabilizers were more challenging, though. My solution eventually became a pair of modified stabilizers from a Matchbox Buccaneer(!), attached to the MiG-15 fin.
The design problems did not stop here, though: the landing gear caused some more headaches. I wanted to keep the OOB parts, but especially the main legs would leave the aircraft with a very goofy look through a short wheelbase and a rear axis position too much forward. In an attempt to save the situation I attached swing arms to the OOB struts, moving the axis maybe 5mm backwards and widening the track by 2mm at the same time. Not much in total, but it helped (a little, even though the aircraft is still very tail-heavy)
As a final addition – since the original, wing-mounted pitots of the J29 were gone now and would not go well with the wing-switching idea – I gave the P29G a large, nose-mounted pitot and sensor boom, placed on top of the nose. This part come, like the air intake, from an F-100.
Painting and markings:
I tend to be conservative when it comes to liveries for what-if models, and the P29G is no exception. At first, I thought that this build could become an operational supersonic daylight interceptor (the J29G), so that I could give the model full military markings and maybe a camouflage paint scheme. However, this idea would not work: the potential real life window for such an aircraft, based on the Saab 29, would be very narrow. And aircraft development in the late Fifties made quantum leaps within a very short period of time: While the J29A entered service, work on the Mach 2 Saab 35 was already underway – nobody would have accepted (or needed) a Mach 1 fighter, based on late Forties technology, at that time anymore, and there was the all-weather Saab J32B around, too. The update program with new wings and a more powerful afterburner engine was all that could be done to exploit the Tunnan’s potential, resulting in the (real world’s) J29E and F variants.
I eventually decided that the J29G would only be a prototype/research aircraft, consequently called P29G, and through this decision I became more or less settled upon a NMF finish with some colorful markings. Consequently, the model was painted with various shades of metal colors, primarily Polished Aluminum Metallizer from Humbrol, but also with Humbrol 191 and Matt Aluminum Metallizer as well as ModelMaster Steel Metallizer. Around the exhaust section, I also used Revell 91 (Iron) and ModelMaster Exhaust Metallizer. Some single panels and details were painted with Revell 99 (Aluminum), and I also used generic decal material in silver to simulate some smaller access panels. Grey decal sheet was used to simulate covers for the cannon nozzles.
The cockpit interior was painted, according to Saab 29 standard, in a dark greenish-grey (Revell 67), and bluish grey was used inside of the landing gear wells (Revell 57). The pitot boom received black and white stripes.
For markings I let myself get inspired from the real world Saab 29 and 32 prototypes, which were all marked with a colored “U” tactical code on the fin and also on the front fuselage, simply meaning “Utverding” (= “Test”). I found four red decals, and I also gave the aircraft a yellow cheatline, lent from an Airfix F-86D decal sheet. The Swedish roundels come from a generic aftermarket sheet, most stencils were taken from the Revell OOB sheet and a Printscale J29 sheet.
Before the model was sealed with semi-gloss acrylic varnish from Italeri, some grinded graphite was rubbed onto the rear fuselage, adding a metallic shine and simulating exhaust stains.
A thorough conversion – this has rather evolved into a kitbashing than just a kit conversion: not much from the original Matchbox J29 has been left over. But I like the outcome, even though things developed gradually from the simple idea of changing the number of engines on the Tunnan. One thing led to another. The resulting aircraft looks quite plausible, even though I am not totally happy with the landing gear, which appears to be rather far forward, despite surgical measures to mend the situation. The Ta 183 wings are a very good match, though, and I cannot help but recognize a certain French look, maybe due to the cruciform tail and the oval air intake? The P29G could also, with Argentinian marking, have become a revised version of the FMA Pulqui II?
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with masculinity and femininity. A sampling of recent subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With my current project "Life is Drag", I am documenting the most singular and innovative performers of the currently exploding alt-drag and neo-burlesque scenes. I am 3 years into this project and have so far made 250+ portraits, created in my Brooklyn studio as well as during residencies - in 2021 in New York City (The Cell Theater, Bushwig) and in Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and in 2020 in New England (3S Artspace).
Over the course of my 2 month Wave Pool residency, I worked with 25 performers - including members of Cincinnati based ODD Presents drag haus and Smoke & Queers burlesque troupe, as well as with other performers from the tri-state area.
The residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events. These photos are from the closing reception at Wave Pool on April 30th, 2022, featuring performances by:
- Kiara Chimera (host)
- Stixen Stones
- Vanta Black
- Honey Stix-Chimera
- Montana Ba Nana
- Tara Newone
- Clinica Deprecious
- Calamity Addams
"Life is Drag" was the 2022 Vance-Waddell Residency, and as a part of that I selected a Cindy Sherman photograph and Janine Antoni sculpture from the Vance-Waddell collection to inform and expand on the installation for this project.
To see the full "Life is Drag" archive:
lifeisdrag.com
Photo by Kellie Coleman
Taken at night utilizing surrounding light and a few off-camera pops of a Canon 550EX Strobe. Red gel was used on the strobe.
The camera was remote actuated via DSLR Remote by Breeze Systems (an excellent program for remote control of your DSLR) in order to get the 15 bracketed shots. They were at 2/3EV steps. Two complete sets were taken in (30 images in all), from which 26 frames were selected.
A total of 26 images were used in this particular HDR compilation, pulling out some of the shutter-bracketed shots, in order to bias the resulting HDR image a bit brighter and more dynamic.
Photomatix Pro was used (nothing else compares for HDR) in post-processing to produce the results that you see here.
There were some unavoidable flashes from other photographers, as the long-exposures of 10-30 seconds were taken, thus there was more flexibility in having so many extra frames to pick & choose from.
This was taken with the hope of submitting it in the Arizona Highways Chihuly Exhibit Photo Contest . . . wish me luck!
CMS utilizes a distributed infrastructure of computing centers to provide access to data stored on disk only at Tier-2 centers and tape with disk caches at Tier-1 centers. Attached are CPU resources for organized processing and analysis. Data is organized in datasets which consist of files grouped in blocks for performance reasons. CMS uses it's data transfer system PhEDEx, to transfer datasets from site to site and its data bookkeeping service DBS to track location and metadata. Integrated over the whole system, even in the first year of data taking, the available disk storage approaches 10 petabytes of space. Maintaining consistency between the data bookkeeping service, the data transfer system, and physical storage is an important operational task which guarantees uninterrupted data availability.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
After the Second World War, France’s armored force consisted, almost entirely, of US-built vehicles, such as the M4 Sherman, M26 Pershing, and M24 Chaffee (among others). France received these vehicles as aid as part of the Marshall Plan and the Mutual Defense Assistance Act (MDAA). These aid pacts also financed the reconstruction of France’s economy and armed forces from 1948 until the late 1950s. In April 1949, the North Atlantic Treaty was signed, and NATO was born, resulting in the United States extending the MDAA. This resulted in France receiving newer vehicles, such as the M47 Patton II tank.
In total, France would operate around 1,250 M24s which were identical to their US counterparts. It was a small tank at 5.45 meters (16 ft 4 in) long, 2.84 meters (9ft 4in) wide, and 2.61 meters (9ft 3in) tall. It weighed 16.6 tonnes (18.37 tons), utilized a torsion bar suspension, and was armed with a 75 mm gun. The tank had a 5-men crew: Commander, Gunner, Loader, Driver, Bow Gunner. The ‘Chaffee’ was named after WWI US Army General, Adna R. Chaffee Jr.
In 1956, the French Army and the Direction des Etudes et Fabrications d’Armements (Directorate of Studies and Manufacture of Armaments, DEFA, an institution within the French Military) were looking into affordable methods of modernizing their fleet of aging M24 Chaffee light tanks, which had been operated since WWII. One method was to somehow combine France’s new domestic light tank, the AMX-13, with the M24.
Initially, this led to the mating of the AMX-13’s FL-10 oscillating turret to the hull of the Chaffee, as the most logical step to improve the M24s. While cheap and feasible, this configuration never went further than trials. This was largely due to a perceived safety issue with the High-Explosive (HE) rounds fired by the CN 75-50 cannon. Inside the FL-10 turret, the CN 75-50 gun was fed via an automatic loading system, which was reloaded externally. If an alternate shell-type needed to be fired, HE, for example, it had to be loaded into the breach manually by the Commander. This was a tricky task in the tight confines of the turret on the standard AMX, made worse by the notoriously sensitive fuze of the HE rounds. This process would be even more dangerous on the smaller hull of the Chaffee. As a result, the inverse of this mounting was decided upon, mounting the Chaffee’s turret on the AMX-13’s hull.
The officially designated AMX-US was a result of this, even though there were many other unofficial names, including ‘AMX-13 Chaffee’ – as it was known by troops – or ‘AMX-13 Avec Tourelle Chaffee (with Chaffee Turret)’. By 1957, work on the inverse of mounting the Chaffee turret to the AMX hull had begun, what was regarded as a safer and easier alternative, and it was also a convenient way of recycling useful Chaffee turrets by separating them from their worn hulls. It also created a vehicle lighter than the regular Chaffee, meaning it was easier to transport.
The M24 turrets went through very little modification for their installation, retaining all the same main features. The only modification necessary was the introduction of an adapter or ‘collar’ to the AMX hull’s turret ring. This was needed as the Chaffee turret had quite a deep basket. The collar granted the basket clearance from the hull floor for uninterrupted, full 360-degree rotation.
The Chaffee turret was a standard design with a typical 3-man crew of the time: Gunner, Loader, and Commander. The Commander sat at the left rear of the turret under a vision-cupola, the gunner sat in front of him. The loader was located at the right-rear of the turret under his own hatch. Armor on the turret was 25 mm (.98 in) thick on all sides, with the gun mantlet being 38 mm (1.49 in) thick.
The AMX-US was operated by a four-man crew, as opposed to the three-man crew of the standard Mle 51, due to the three-man turret of the Chaffee. Armament consisted of the 75 mm Lightweight Tank Gun M6 which had a concentric recoil system (this was a hollow tube around the barrel, a space-saving alternative to traditional recoil cylinders). Variants of this gun were also used on the B-25H Mitchell Bomber, and the T33 Flame Thrower Tank prototype. The shell velocity was 619 m/s (2,031 ft/s) and had a maximum penetration of 109 mm. The elevation range of the gun was around -10 to +13 degrees. Secondary weapons were also retained. This included the coaxial .30 Cal (7.62 mm) Browning M1919 Machine Gun, and the .50 Caliber (12.7 mm) M2 Browning Heavy Machine gun which was mounted on the rear of the turret roof.
Apart from the adaptor or ‘collar’, the AMX hull went through no alterations. It retained the same dimensions, and forward-mounted engine and transmission. The tank was powered by a SOFAM Model 8Gxb 8-cylinder, water-cooled petrol engine developing 250 hp, propelling the tank to a top speed of around 60 km/h (37 mph). The vehicle ran on a torsion bar suspension with five road-wheels, two return rollers, a rear-mounted idler, and a forward-mounted drive-sprocket. The driver was positioned at the front left of the hull, behind the transmission and next to the engine.
Trials with what would be designated the ‘AMX-US’ were undertaken between December 1959 and January 1960. The vehicle was well received, with an order for 150 conversions being placed by the French military in March 1960. Conversion work was carried out at a plant in Gien, North-Central France.
The AMX-US saw brief service in the War in Algeria – otherwise known as the Algerian War of Independence or Algerian Revolution. One known operator was the 9e Régiment de Hussards (9th Hussar Regiment) based in Oran. They served well, but a few were lost in combat, but there is no evidence to suggest they served in any other location with the French military, such as in France or West Germany based regiments.
After the conflict in Algeria, the vehicles were returned to France, but they did not last long in active service after this. Many vehicles were being repurposed into driver trainers. For this, the vehicles were disarmed, with the 75 mm gun and mantlet removed from the turret face and a large plexiglass windscreen was installed in its place.
About fifty surplus AMX-US were sold as scout tanks to Israel, because the AMX-13, which had been procured and operated by the IDF since 1956 in great numbers, was used as a battle tank, so that no IDF reconnaissance unit used the AMX 13. The AMX-US was a perfect and cheap alternative to fill this operational gap, and the vehicles, delivered in 1963, took actively part in the 1967 Six-Day-War.
During these battles, the IDF soon realized that the AMX-13 tank in general was too lightly armored and lacked firepower, and this was even more true for the AMX-US with its vintage WWII gun. Losses were heavy at places like Rafah Junction and Jiradi Pass with many tanks destroyed by heavier Arab-fielded Soviet armor, such as T-55 MBTs and IS-3 heavy tanks. After that, both the AMX-13 and the AMX-US were gradually phased out by the IDF, either sold to other nations (e. g. Thailand), broken up for spares or preserved and stored in depots.
In 1975, a handful of these mothballed AMX-US were, together with other outdated Six-Day-War M50 Sherman veterans, re-activated and handed over to the South Lebanese Army (SLA). The SLA was a Christian militia during the Lebanese Civil War, opposing Muslim militias supported by Syria. The SLA received a total of 15 AMX-US, plus 35 M50s, and all these tanks were painted in a characteristic light blue-grey color. The SLA kept these tanks operational and active for a surprisingly long period, the last confirmed appearance of an SLA AMX-US in battle was in 1988. Even after the retirement of the last operational specimen, the SLA still used the AMX-US for training and security duties.
In 2000, nearly ten years after the end of the civil war, the SLA disbanded, and the surviving former IDF tanks were returned to Israel to prevent them from falling into the wrong hands – spelling the end to the AMX-US long career, of which four were returned and subsequently scrapped.
Specifications:
Crew: Four (Commander, Loader, Gunner, Driver)
Weight: 15 tons
Length: 4.88 m (16 ft) overall
Width: 2.51 m (8 ft 2 in)
Height: 2.30 m (7 ft 5 in)
Suspension: Torsion arms; Tracked chassis, 5 roadwheels, drive sprocket front, idler rear,
3.00 m length, 0.35 width, 2.16 m track
Ground clearance: 0.37 m (1 ft 2½ in)
Fording depth: 2 ft (0.6 m) unprepared, 6.9 ft (2.1 m) with snorkel
Grade: 60%
Side slope: 60%
Trench crossing: 1.6 m (5 ft 3 in)
Vertical wall climb: 0.65 m (2 ft 1½ ft)
Fuel capacity: 480 l (127 gal)
Engine:
1× water-cooled Renault SOFAM Model 8Gxb 8-cylinder gasoline with 250 hp
Transmission:
Hydramatic automatic transmission; 8 speeds forward, 4 reverse
Armor:
Hull: 10 - 40 mm (1.57 in)
Turret: max. 38 mm (1.49 in)
Performance:
Speed: 60 km/h (40 mph) maximum, road
Operational range: 350 km (217 mi) on streets with internal fuel only
Power/weight: 17 hp/t
Armament:
1× 75 mm Lightweight Tank Gun M6 in Mount M64 with 48 rounds
1× co-axial 0.30 Cal. (7.62 mm) Browning M1919 machine gun, 2.200 rounds
1× 0.50 Caliber (12.7 mm) M2 Browning anti-aircraft heavy machine gun, 440 rounds
The kit and its assembly:
This fictional tank model is the result of recycling: After a T-34 conversion, which used an AMX-13 turret, I was left with the chassis of a 1:72 Heller kit. The latter is a rather simple and primitive affair, with many wrong details and a very weak running gear. From another, even older conversion project I also had an almost complete turret from a Hasegawa M24 Chaffee left over. When I stumbled in literature over the French AMX-US hybrid I decided to use these leftover bits to create one!
The AMX-13 chassis was taken OOB, because I did want to invest too much energy into this build, despite its many flaws. Its running gear is rubbish, the vinyl tracks featureless, and overall the detail level is rather soft. From a distance it looks like an AMX-13, but any closer inspection reveals the model's simplicity and toy-likeness. The Chaffee turret was also built with the original parts – but I had to replace the gun barrel and find a replacement for the gunner’s hatch.
Nevertheless, some scratch work had to be done. The biggest challenge was the AMX-US’ characteristic turret adapter ring, which markedly raises the M24 turret above the AMX-13 hull. My solution became a manually bent a piece of soft styrene profile - it’s not perfectly circular, but that’s not obvious when the turret is in place, and it looks the part. Furthermore, some small bits were added to hide flaws and distract. These include vertical bars in the exhaust opening, shallow storage boxes on the fenders (hiding the wacky distance ring) and tarpaulin/cammo net packs (created from paper tissue and nylon stockings drenched with white glue). The commander cupola’s hatch was left open and a figure (an ESCI German WWII tank commander) added, to make the model appear livelier. Since the M24’s AA machine gun had been gone, I had to replace it with one from an ESCI Merkava, its mount was moved in front of the cupola.
Painting and markings:
Initially, I just had the French army as potential operator for the AMX-US but found that rather boring due to the very limited livery options: any French tank from the era would have carried a dark olive-green livery, even those operated in North Africa! Some French M24s had been operated in South-East Asia in a sand/green/brown/green jungle scheme, but the time frame would not match well. So, I checked other AMX-13 operators and took liking in an IDF vehicle. However, while looking for potential liveries I came upon the SLA. The AMX-US, had it been handed over to the IDF, could have been among these donor tanks, and their unique (if not spectacular) light blue livery made them outstanding. I am not certain whether the blue tone was intended as serious camouflage or just as an IFF measure? However, among typical light rocks and mountains of the Lebenon and in dusty/hazy air, the bluish tone actually works quite fine, better than expected.
While a uniform livery is not complex, finding a suitable tone for the model took a while. Real life color pictures (of dubious quality) show a wide range of light blue and/or grey tones, ranging from a bright sky blue over pale grey (like FS 36375) to a medium bluish grey (FS 35237), frequently with severe signs of weathering/sun-bleaching which makes some tanks appear almost white. Some M50s also had olive drab or dark grey patches or patterns added on top as additional camouflage.
After testing several options I chose RLM78 (Modelmaster 2088) as basic tone. Odd choice, but it turned out to be light enough, is a rather blue tone (with a slight hint of green), but still dull enough to look like a military tone. An overall washing with a mix of grey, black and red brown followed, and then the model received a thorough, overall dry brushing treatment with various shades of light blue grey, including Modelmaster RLM76, FS 36320 and Revell 75, for a worn and bleached appearance.
The markings had to be completely improvised, though, and were created with Corel Draw on an ink jet printer and with white and clear decal paper. They include the SLA’s cedar tree emblem and the Arabic tactical codes. The white “X” markings were created with generic decal stripes.
After the model had been sealed with matt acrylic varnish, sand and dust residues were created with watercolors, and some beige mineral pigments were dusted into the running gear and over the upper surfaces.
A quick build and a good use of leftover parts from other projects, melded into a plausible result. The SLA livery adds a weird twist to this model, even though it is – in the end – just a mix of real-world elements: the AMX-US existed, and the SLA operated light blue tanks! Life is sometimes stranger than fiction.
Congregation Beth Israel is the oldest continuously utilized synagogue in Virginia and among the twenty oldest continuously utilized synagogues in the United States. Formally affiliated with the Union of American Reform Jewish congregations since the 1920s, many worshipers are Conservative/traditional, and some follow other varieties of ritual practice.
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St. Charles's Church, Vienna
The St. Charles's Church (German: Karlskirche) is a church situated on the south side of Karlsplatz, Vienna. It is located on the edge of the 1st district, 200 metres outside the Ringstraße. It is one of the most outstanding baroque church structures, and boasts a dome in the form of an elongated ellipsoid.
Ever since Karlsplatz was restored as an ensemble in the late 1980s, the Karlskirche has garnered fame due to its dome and its two flanking columns of bas-reliefs, as well as its role as an architectural counterweight to the buildings of the Musikverein and of the Vienna University of Technology.
The church is cared for by a religious order and has long been the parish church as well as the seat of the Catholic student ministry of the Vienna University of Technology.
Design and construction
Karlskirche column, with spiral as on Trajan's Column
In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced, in which Johann Bernhard Fischer von Erlach prevailed over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction began in 1716 under the supervision of Anton Erhard Martinelli. After J. B. Fischer's death in 1723, his son, Joseph Emanuel Fischer von Erlach, completed the construction in 1737 using partially altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church.
As a creator of historic architecture, J. B. Fischer united the most diverse of elements. The façade in the center, which leads to the porch, corresponds to a Greek temple portico. The neighboring two columns, crafted by Lorenzo Mattielli, found a model in Trajan's Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J. E. Fischer shortened and partly altered.
[edit]Iconography
The iconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects St. Charles Borromeo with his imperial benefactor. The relief on the pediment above the entrance with the cardinal virtues and the figure of the patron on its apex point to the motivation of the donation. This sculpture group continues onto the attic story as well. The attic is also one of the elements which the younger Fischer introduced. The columns display scenes from the life of Charles Borromeo in a spiral relief and are intended to recall the two columns, Boaz and Jachim, that stood in front of the Temple at Jerusalem. They also recall the Pillars of Hercules and act as symbols of imperial power. The entrance is flanked by angels from the Old and New Testaments.
This program continues in the interior as well, above all in the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti (pseudoarchitecture) which displays an intercession of Charles Borromeo, supported by the Virgin Mary. Surrounding this scene are the cardinal virtues. The frescos in a number of side chapels are attributed to Daniel Gran.
The gold piece high above the altar symbolizing Yahweh.
The high altar painting portraying the ascension of the saint was conceptualized by the elder Fischer and executed by Ferdinand Maximilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte and Jakob van Schuppen.
Full view of the Altar
As strong effect emanates from the directing of light and architectural grouping, in particular the arch openings of the main axis. The color scheme is characterized by marble with sparring and conscious use of gold leaf. The large round glass window high above the main altar with the Hebrew Tetragrammaton/Yahweh symbolizes God's omnipotence and simultaneously, through its warm yellow tone, God's love.Below is a representation of Apotheosis of Saint Charles Borromeo.
Next to the structures at Schönbrunn Palace, which maintain this form but are more fragmented, the Karlskirche is Fischer's greatest work. It is also an expression of the Austrian joie de vivre stemming from the victorious end of the Turkish Wars.
Karlsplatz
Karlsplatz ("Charles' Square") is a town square on the border of the first and fourth districts of Vienna. It is one of the most frequented and best connected transportation hubs in Vienna. The Karlskirche is located here.
Resselpark, adorned with numerous monuments, takes up the most area in the plaza and is on the south side. The Evangelische Schule (Evangelical School) and the Technische Universität Wien (Vienna Technical University) are located here. The plaza is closed in by Karlskirche (which has a water tank and a Henry Moore sculpture in front of it), the main building of the Vienna Museum, and the Winterthur Insurance building. Separated from the plaza to the north are the buildings of the Wiener Musikverein (Vienna Music Society), the Künstlerhaus (art house), and the Handelsakademie (business school). A Video of the plaza and a eventlist are available on the Website of the association karlsplatz.org Verein zur Förderung d. kulturellen Belebung öffentlicher Räume [1].
On the Karlsplatz the exhibition of the United Buddy Bears was shown in 2006 for the first time in Austria. The exhibition was opened by Christiane Hörbiger, Film actress and UNICEF Ambassador, together with Grete Laska, Deputy Mayor of Vienna and Karin Schubert, Mayor of Berlin. According to the City of Vienna, project partners, they were able to count nearly 1 million visitors over the 6 weeks of the exhibition[1].
The first district can be reached either by subway or via Operngasse (a street). The pavilions of the former Karlsplatz Stadtbahn Station remain despite the construction of the U-Bahn system.
en.wikipedia.org/wiki/Karlskirche
en.wikipedia.org/wiki/Karlsplatz
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These are reduced sized pictures.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.
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HIGH RESOLUTION images on sundeepkullu.com WORLD IS MY STUDIO This picture is LOW RESOLUTION for web compatibility **Sorry Guys i have deleted most of my pictures from facebook due to copyright infringement by parties not authorised by me.But i have made a flash website for exibiting my Photostories Do visit sundeepkullu.com
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Lahaul and Spiti district
The district of Lahaul-Spiti in the Indian state of Himachal Pradesh consists of the two formerly separate districts of Lahaul and Spiti. The present administrative centre is Keylong in Lahaul. Before the two districts were merged, Kardang was the capital of Lahaul, and Dhankar the capital of Spiti.
Kunzum la or the Kunzum Pass (altitude 4,551 m; 14,931 ft) is the entrance pass to the Spiti Valley from Lahaul. It is 21 km from Chandra Tal.[1] This district is connected to Manali through the Rohtang Pass. To the south, Spiti ends 24 km from Tabo, at the Pare chu gorge where the road enters Kinnaur and joins with National Highway No. 22.[2]
The two valleys are quite different in character. Spiti is more barren and difficult to cross, with an average elevation of the valley floor of 4,270 m (14,009 ft). It is enclosed between lofty ranges, with the Spiti river rushing out of a gorge in the southeast to meet the Sutlej River. It is a typical mountain desert area with an average annual rainfall of only 170 mm (6.7 inches).[3]
Flora and fauna
Lahaul valley in winter
Mountain peak in Lahaul and Spiti district
The harsh conditions of Lahaul permit only scattered tufts of hardy grasses and shrubs to grow, even below 4,000 metres. Glacier lines are usually found at 5,000 metres.
Animals such as yaks and dzos roam across the wild Lingti plains. However, over-hunting and a decrease in food supplies has led to a large decrease in the population of the Tibetan antelope, argali, kiangs, musk deer, and snow leopards in these regions, reducing them to the status of endangered species. However, in the Lahaul valley, one can see ibex, brown bears, foxes and snow leopards during winter.
[edit]People
Mother and child in near Gandhola Monastery. 2004
The language, culture, and populations of Lahaul and Spiti are closely related. Generally the Lahaulis are of Tibetan and Indo-Aryan descent, while the Spiti Bhotia are more similar to the Tibetans, owing to their proximity to Tibet. Fairer skin and hazel-colored eyes are commonly seen among the Lahaulis.
The languages of both the Lahauli and Spiti Bhutia belong to the Tibetan family. They are very similar to the Ladakhi and Tibetans culturally, as they had been placed under the rule of the Guge and Ladakh kingdoms at occasional intervals.
Among the Lahaulis, the family acts as the basic unit of kinship. The extended family system is common, evolved from the polyandric system of the past. The family is headed by a senior male member, known as the Yunda, while his wife, known as the Yundamo, attains authority by being the oldest member in the generation. The clan system, also known as Rhus, plays another major role in the Lahauli society.
The Spiti Bhutia community has an inheritance system that is otherwise unique to the Tibetans. Upon the death of both parents, only the eldest son will inherit the family property, while the eldest daughter inherits the mother's jewellery, and the younger siblings inherit nothing. Men usually fall back on the social security system of the Trans-Himalayan Gompas.
[edit]Lifestyle
The lifestyles of the Lahauli and Spiti Bhotia are similar, owing to their proximity. Polyandry was widely practiced by the Lahaulis in the past, although this practice has been dying out. The Spiti Bhutia do not generally practice polyandry any more, although it is accepted in a few isolated regions.
Divorces are accomplished by a simple ceremony performed in the presence of village elders. Divorce can be sought by either partner. The husband has to pay compensation to his ex-wife if she does not remarry. However, this is uncommon among the Lahaulis.
Agriculture is the main source of livelihood. Potato farming is common. Occupations include animal husbandry, working in government programs, government services, and other businesses and crafts that include weaving. Houses are constructed in the Tibetan architectural style, as the land in Lahul and Spiti is mountainous and quite prone to earthquakes.
[edit]Religion
Kunzum Pass between Lahul & Spiti
Ki-Gompa Spiti
Most of the Lahaulis follow a combination of Hinduism and Tibetan Buddhism of the Drukpa Kagyu order, while the Spiti Bhotia follow Tibetan Buddhism of the Gelugpa order. Within Lahoul/swangla, the Baralacha-La region had the strongest Buddhist influence, owing to its close proximity to Spiti. Lahoul/swangla has temples such as Triloknath , where pilgrims worship a certain god in different manifestations, notably in the form of Shiva and Avalokiteshvara where Udaipur is a puritan temple. This bas-relief, of marble, depicts the Buddhist deity Avalokiteshvara (the embodiment of the Buddha's compassion) in a stylized seated position; Hindu devotees take it to be Shiva Nataraj, Shiva dancing. This image appears to be of sixteenth century Chamba craftsmanship. It was created to replace the original black stone image of the deity, which became damaged by art looters. This original image is kept beneath the plinth of the shrine. It appears to be of 12th century Kashmiri provenance . Much of the art thieves are active in this remote belt because of neglected gompas and temples.
Before the spread of Tibetan Buddhism and Hinduism, the people were adherents of the religion 'Lung Pe Chhoi', an animistic religion that had some affinities with the Bön religion of Tibet. While the religion flourished, animal and human sacrifices were regularly offered up to the 'Iha', a term that refers to evil spirits residing in the natural world, notably in the old pencil-cedar trees, rocks and caves. Vestiges of the Lung Pe Chhoi religion can be seen in the behaviour of the Lamas, who are believed to possess certain supernatural powers.
The Losar festival (also known as Halda in Lahauli) is celebrated between the months of January and February. The date of celebration is decided by the Lamas. It has the same significance as the Diwali festival of Hinduism, but is celebrated in a Tibetan fashion.
At the start of the festival, two or three persons from every household will come holding burning incense. The burning sticks are then piled into a bonfire. The people will then pray to Shiskar Apa, the goddess of wealth (other name Vasudhara) in the Buddhist religion.
In the Pattan belt of the valley in Lahoul most population follows Hinduism,but counts for 14 percent of the total and they are called swanglas. The fagli festival is celebrated between February and March all over the valley. This festival is a new year festival and closely precedes beginning of tibetian and Chinese calendar. Notable is the Pattan people are the late settlers in the valley around 1500 A.D. and have broad highlights and have distinct language on the likes the central Asians,chamba, pangi, pashtoons and uyghurs. This belt is known for the convergence for chandra and bhaga rivers to form Chenab.
[edit]Tourism
Ki Gompa
The natural scenery and Buddhist monasteries, such as Ki, Dhankar, Shashur, Guru Ghantal and Tayul Gompas, are the main tourist attractions of the region.
One of the most interesting places is the Tabo Monastery, located 45 km from Kaza, Himachal Pradesh, the capital of the Spiti region. This monastery rose to prominence when it celebrated its thousandth year of existence in 1996. It houses a collection of Buddhist scriptures, Buddhist statues and Thangkas. The ancient gompa is finished with mud plaster, and contains several scriptures and documents. Lama Dzangpo heads the gompa here. There is a modern guest house with a dining hall and all facilities are available.
Another famous gompa, Kardang Monastery, is located at an elevation of 3,500 metres across the river, about 8 km from Keylong. Kardang is well connected by the road via the Tandi bridge which is about 14 km from Keylong. Built in the 12th century, this monastery houses a large library of Buddhist literature including the main Kangyur and Tangyur scriptures.
The treacherous weather in Lahaul and Spiti permits visitors to tour only between the months of June to October, when the roads and villages are free of snow and the high passes (Rothang La and Kunzum La) are open. It is possible to access Spiti from Kinnaur (along the Sutlej) all through the year, although the road is sometimes temporarily closed by landslides or avalanches.
Buddhist Monasteries in Spiti: Spiti is one of the important centers of Buddhism in Himachal Pradesh. It is popularly known as the 'land of lamas'. The valley is dotted by numerous Buddhist Monasteries or Gompas that are famous throughout the world and are a favorite of Dalai Lama.
Kye Monastery: Kye Monastery in Spiti is the main research center of the Buddhists in India. Near about 300 lamas are receiving their religious training from here. It is oldest and biggest monastery in Spiti. It houses the rare painting and beautiful scriptures of Buddha and other gods and goddess. You may also find rare 'Thangka' paintings and ancient musical instruments 'trumpets, cymbals, and drums in the monastery.
Tabo Monastery: Perched at an amazing altitude of 3050 meters, Tabo Monastery in the valley of Spiti is often referred to as the 'Ajanta of the Himalayas'. The 10th century Tabo Monastery was founded by the great scholar, Richen Zangpo, and has been declared as the World Heritage Site by UNESCO. The monastery houses more than 6 lamas and contains the rare collection of scriptures, pieces of art, wall paintings -Tankhas and Stucco.
Flora and fauna of Spiti Valley: The valley is blessed with the good population of snow leopards, ibex, Himalayan Brown Bear, Musk Deer, Himalayan Blue Sheep etc. which serves as the boon for the wildlife lovers. There are two important protected areas in the region that are a home to snow leopard and its prey including the Pin Valley National Park and Kibber Wildlife Sanctuary. Surprisingly, due to ardent religious beliefs, people of Spiti do not hunt these wild animals.
Apart from the exotic wildlife, the Valley of Spiti is also known for its amazing wealth of flora and the profusion of wild flowers. Some of the mot common species found here include Causinia thomsonii, Seseli trilobum, Crepis flexuosa, Caragana brevifolia and Krascheninikovia ceratoides. Then there are more than 62 species of medicinal plants found here.
Adventure activities:
To- do-Trials: For trekkers, the Spiti Valley is a paradise, offering challenging treks to explore the new heights of the Himalayas. The treks takes you to the most remote areas including the rugged villages and old Gompas followed by the exotic wildlife trails. Some of the popular trekking routes in the area includes Kaza-Langza-Hikim-Comic-Kaza, Kaza-Ki-Kibber-Gete-Kaza, Kaza-Losar-Kunzum La and Kaza-Tabo-Sumdo-Nako. Please note that you carry all the necessary things before out for the trekking tour to Spiti. Tents, sleeping bags, cooking equipment, heavy woollens and sunglasses are a must.
Skiing: Skiing is the popular adventure sports in Spiti and is popular in India from the past few years. The amazing snow clad mountains with the added advantage of inspiring heights are enough to allure the adventure spirits of the avid skier, providing all the thrill and fun attracted to the sport. People from all around the globe come to experience this enthralling adventure activity.
Yak Safari: The most exciting of all adventure activities in Spiti is the Yak safari. You can hire the Yak to see the flora and fauna of trans-Himalayan desert. It is, in fact, the lifetime opportunity that you won't find anywhere else so easily. Apart from this, horse safaris are also conducted in this area.
Sources en.wikipedia.org/wiki/Lahaul_and_Spiti_district
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The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
steigiotto, kostybit und 6 weitere haben das als Favorite
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
Hello dear mothers,Today we have a very different content for you. Did you know that you can benefit from your breast milk in different ways besides feeding your baby?First of all, we know that your baby should be fed with breast milk for the first 6 months and the importance of breastfeeding is undeniable. However, you can store excess breast milk under certain conditions to feed your baby and also use it for different applications. After making sure that your baby has nursed enough, you can store your extra breast milk by applying proper pumping techniques.Breast Milk Storage ConditionsIn order to preserve the quality of your breast milk without any deterioration, you need to create certain conditions for storage. If you do not create these conditions, the quality of your milk will decrease and its nutritional value will be lost. In short, your milk will spoil. It may not be safe to give this milk to your baby.If you have any questions about pumping your milk, you can click on the link below to access our article.There are three rules for storing breast milk; breast milk can be stored at room temperature for 3 hours, in the refrigerator for 3 days, and in the freezer for 3 months.Making Yogurt from Breast MilkYogurt is a source of calcium, which is essential for every growing baby's needs. As you know, you should only feed your baby with breast milk during the first 6 months.When
Utilizing digital Dash-Cam video recorders linked to the CAD system, fire officers can see and review real-time information on the in cab display.
Plus, FDMB Fire Chiefs can monitor and coordinate responding units on their way to a scene, from the safety of their own vehicle, or the comfort of the office.
It's also nice to have an official record for all those pesky drivers... that just can't comprehend what lights and sirens mean.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Oh the MGB, the last great British Sports car?
A motor that refused to die even though British Leyland simply couldn't stop messing around with it. The MGB is an example of a car that went from one of the most loved and lovable cars in British motoring, to what many describe as an empty husk broken and bent for legislation purposes. But the MGB would have its way in the end!
The story behind the MGB begins in 1962, when the car was designed to incorporate an innovative, modern style utilizing a monocoque structure instead of the traditional body-on-frame construction used on both the MGA and MG T-types and the MGB's rival, the Triumph TR series. However components such as brakes and suspension were developments of the earlier 1955 MGA with the B-Series engine having its origins in 1947. The lightweight design reduced manufacturing costs while adding to overall vehicle strength. Wind-up windows were standard, and a comfortable driver's compartment offered plenty of legroom. A parcel shelf was fitted behind the seats.
The car was powered by a BMC B-Series engine, producing 95hp and giving the car a 0-60 of 11 seconds, perhaps not the briskest acceleration, but of course this car was more a comfy little cruiser, ambling about the countryside in sedate fashion admiring the views. The MGB was also one of the first cars to feature controlled crumple zones designed to protect the driver and passenger in a 30 mph impact with an immovable barrier (200 ton).
The roadster was the first of the MGB range to be produced. The body was a pure two-seater but a small rear seat was a rare option at one point. By making better use of space the MGB was able to offer more passenger and luggage accommodation than the earlier MGA while 3 inches shorter overall. The suspension was also softer, giving a smoother ride, and the larger engine gave a slightly higher top speed. The four-speed gearbox was an uprated version of the one used in the MGA with an optional (electrically activated) overdrive transmission. Wheel diameter dropped from 15 to 14 inches.
Upon its launch the MGB was given almost unanimous acclaim, largely due to its advanced and innovative design combined with its beautifully and sleek styling. Previous sports cars of the same calibre had always been levied with a reputation for their ropey nature, with a majority of previous models being simply remodelled versions of the MG's and Triumphs that dated back to the end of and in some cases even before World War II. But the MG was different, and if I'm honest, a large part of its appeal is due to its small, low body, and it's poky round headlights that make it look rather cute. It's the kind of car you could give a name, preferably a girl's one. Either way, the MGB sold in hundreds, disappearing off to all corners of the globe, touring the South of France, storming across the deserts of Southern California on Route 66, or dodging its way through the bustling Indian traffic, these things were adored.
However, the only version available was a soft-top roadster, which didn't appeal to everyone, so in 1965 MG took the B to Italy, and the great styling firm known as Pininfarina, and asked them to pop a roof on their windy little sports car. What resulted was a roof fixture that blended its way perfectly into the rest of the body, a smooth greenhouse cabin that was spacious but still maintained the styling that enthusiasts had come to know so well, going on to be dubbed "The poor man's Aston Martin."
Although acceleration of the GT was slightly slower than that of the roadster, due to its increased weight, top speed improved by 5 mph to 105 mph due to better aerodynamics.
However, tweaks were starting to be made to the MGB formula to try and give it a wider ranging market. Intended to replace the Austin Healey Sprite, the MG MGC was launched in 1967 as a reworked version of the classic MGB, but featuring a 2.9L BMC C-Series engine to up the power.
The problem was that the revised design of the car to incorporate the engine was nothing short of lazy. Instead of redesigning the whole car, MG chose to simply create a huge bulbous lump in the bonnet. The heavier engine also required modifications to the suspension which spoiled the handling. As well as that, the engines were quite poorly built, and later tuning by enthusiasts has proven that the car has the ability to run with 30% more power by carrying out simple modifications to head, exhaust and cam release.
However, the MGC did find some love, in the Royal Family of all places, as in 1967, HRH Prince Charles took delivery of an MGC GT (SGY 766F), which he passed down to Prince William 30 years later. At least one car had a happy ending!
But soon problems came roaring over the horizon like the four horsemen of the apocalypse. A whirlwind of legislation, corporate incompetence and plain old lazy design came right out of nowhere and would soon engulf and attempt to destroy the MGB, but not before stripping the poor thing of its dignity and its good name.
The first disaster to befall this plucky little car, British Leyland, which was formed in 1968 by merging all of Britain's major automotive firms including Rover, BMC (Austin/Morris) and Triumph (which was part of the Leyland Group). To save on costs the lavish chrome grille of the earlier models and spoked wheels were the first to go, but the B could survive without them.
Next up, fitting the car with a Rover V8 that had been developed from a series of Buick Pickup Truck engines. Although this could have been a good thing, this wasn't British Leyland's idea, but in fact belong to professional engine tuner Ken Costello, who, although had been commissioned by British Leyland to create a prototype, had already created a series of MGB's with V8's placed under the hood. British Leyland half-inched this idea and started fitting their own V8's, but went about it all wrong. The powerful 180bhp engine used by Costello for his conversions was replaced for production by MG with a more modestly tuned version producing only 137bhp. Although the car's 193lb-ft of torque meant it could reach 0-60 in 7.7 seconds and go on to a reasonable 125mph top speed, it was a thirsty beast, with only 20mpg. A bit of a territorial hazard admittedly, but it's not a good idea to develop such a gas guzzling car when it was about to smack headlong into the Oil Crisis of 1973. Barely anyone went out and bought it, and the money simply disappeared down the nearest drain.
But so far, the car's lovable external dimensions had yet to be compromised, but we haven't got to the legislation yet, one of those many apocalyptic horsemen I was mentioning earlier. Throughout the 1960's the death of James Dean had resulted in a gradual increase in safety legislation on US Highways, and in order to have a market there, cars had to conform. The height of the headlights, the bumpers, the smoke emissions, the recess of the switches, all of these things were scrutinised and had to be taken into account by car builders.
Indeed America can be owed with introducing many safety features and pieces of legislation we take for granted in modern motoring, but the British manufacturers almost seemed to go out of their way to redesign the cars completely and 100% wrong. In 1974 the glistening chrome was replaced by a gigantic bulbous rubber bumper that protruded from the front of the car like someone's bottom lip!
Other signs of their poor design included the removal of leather seats for something much more mundane, the use of dials and switches from other products such as Austin Allegros and Maxis, as well as door handles that came straight from the Morris Marina.
Internally, British Leyland had botched it with their laziness, choosing not to redesign the car like everyone else so that the headlights were at the required height, but instead placing solid blocks under the suspension to raise the lights to the desired level, but at the same time making the car look like it was going permanently downhill as well as making the handling so light it would slide constantly at speed. The engines were tuned down for emission regulations which made them woefully underpowered and thus they, to use a contemporary phrase, 'couldn't pull the skin off a Rice Pudding!'
Numbers dropped, but British Leyland went to that old trick in the book by using product placement to get by, putting one of their new MGB's in the New Avengers to be driven by Joanna Lumley's character Purdey. As far as I recall though, low slung sports cars aren't the best things to drive if you're in a miniskirt, because getting in and out of them can be quite revealing!
But this wasn't enough to save the MGB's deteriorating sales, in America cars would languish in stockyards and storage warehouses for months on end waiting to be sold, but to no avail. For this, the MG division was making losses of up to £400,000 per week, a clear sign that the ailing MGB had to go the way of all good cars, out of production. On October 21st, 1980, the last MGB rolled off the production line after 18 years, no pomp, no circumstance, just quietly slipping away into history.
After this, the MG brand was lost from its own original cars such as the Midget and the MGB that dated back to the 60's, instead being placed on tuned and slightly modified versions of British Leyland's family cars, including the MG Montego, the MG Maestro and, to the everlasting horror of MG purists although I personally don't think it's that bad, the MG Metro. The factory in Abingdon-on-Thames, where the MGB had been built, closed its gates immediately afterwards as part of the company's rationalisation, striking a blow to the economy of the region and the esteem of those who had been proud to build cars with those two simple letters, MG.
But all was not lost for the MGB, as soon afterwards the cars became fashionably retro, especially in the 1980's and 90's, when 60's examples were bought up largely by foreign markets due to their quintessentially British nature and their synonymous relationship with our country and way of life. Japan especially was a hotspot for old MG products, with Midgets and MGB's being shipped out there by the dozen. So popular were these that Rover Group, the descendants of British Leyland, went on to create a limited edition retelling of the MGB in the form of the MG RV8, constructed in 1993 with 2,000 examples built, the first original MG car to be built since the original MGB ended production in 1980.
Here in the UK, the MG craze kicked off with enthusiasts taking scrapyard shells and run down models and turning them into their own little put-together projects. The MGB has now become one of the most popular little retro sports cars of the modern era, and despite all its faults, even the rubber-bumper British Leyland models make some fantastic kit cars if you want good, wholesome sport fun on a budget!
Koziar's Christmas Village is a seasonal attraction located in Jefferson Township, near Bernville, Berks County, Pennsylvania, U.S.A., approximately 15 miles (24 km) northwest of Reading. Christmas Village utilizes approximately one half million Christmas lights and other decorative effects in a presentation that has repeatedly been listed among the top tourist attractions in Pennsylvania and the top Christmas displays in the United States.
The Christmas Village property was originally known as Spring Lake Dairy Farm, a working dairy farm. William M. Koziar began decorating his rural property for Christmas in 1948. The display was created for the enjoyment of Koziar's wife, Grace, and four children and initially centered on the house and barn. However, the display became increasingly elaborate and grew to incorporate the lake, walkways, trees, and fences. Over time the private display became a popular local attraction, known as "The Christmas House," and traffic on the nearby road was sometimes snarled by passersby stopping to view the display. Eventually, visitors were admitted to the premises and Koziar paved a former wheat field to provide parking. Initially, the dairy farm remained active, and the Koziars had to wait until after the cows were milked to turn on the lights, as there was not enough power for the milking machines and the lights to operate simultaneously. Many of the dioramas are housed in former chicken coops and display toys, clothes and other belongs of the Koziars' children and grandchildren. In 2008 Koziar's Christmas Village celebrated its sixtieth anniversary. It remains a family-owned attraction, currently operated by the Koziars' daughters, and several current employees are second- and third-generation associates.
Christmas Village features the elaborately illuminated home and barn of the Koziar family, as well as numerous smaller buildings. Upon entrance, visitors are greeted by costumed characters Rudolph, Frosty, and the Village's own Buddy the Bear. A marked pathway leads visitors among the illuminated buildings and other displays. Children may visit Santa Claus at his headquarters on Santa Claus Lane. There are several large dioramas depicting scenes such as Christmas Beneath the Sea, Christmas in the Jungle, Santa's Post Office, and Christmas in Other Lands. There are a number of displays featuring cut-out representations of characters from popular comic strips, animated films and fairy tales, as well as manger scenes, presentations of the biblical story of the Nativity, and tellings of seasonal stories such as A Christmas Carol and The Nutcracker. The Village also includes a recreation of the Valley Forge encampment and a G gauge outdoor train layout that encompasses most of the barnyard. The "Kissing Bridge" has been the site of several marriage proposals, engagements and weddings. In addition, there are several indoor features, including an extensive H0 scale model train layout and sales area, as well as shops selling souvenirs, Christmas decorations, refreshments, and other seasonal items.
Perhaps the most dramatic feature of the Village is the first glimpse one sees of the display. Most visitors approach the property from the east, via Christmas Village Road. Being farm country the surrounding area is sparsely inhabited and, after dark, sparsely lit. The terrain blocks the view of the Village until the road crests a hill just a few hundred feet to the east of the display, at which point the entire Village is suddenly visible, reflected in the lake. As of late 2010 the Christmas Village website features a virtual recreation of this experience as a part of its home page.
Christmas Village has been named Best Outdoor Christmas Display in the World by Display World magazine. It has also been given the "Award of Excellence" by the Pennsylvania Travel Council as a top travel attraction in the state. A twilight image of Christmas Village was used as jacket art for the book Christmas in America: A Photographic Celebration of the Holiday Season by Peter Guttman, published in 2007 by Skyhorse Publishing and now in its second edition. Christmas Village has been featured frequently by local media, as well as by national and international outlets.
Information from: en.wikipedia.org/wiki/Koziar%27s_Christmas_Village
Right: My 7.5x33R handload utilizing a waxed .314" 110 grain lead round nose flat point bullet with gas check over 3.5 grains of IMR Trail Boss. The brass is full length 32-20 Starline brand resized in a 30 Carbine die. The bullet was cast by a local gun nut ("jethunter"), and is pure perfection!
Left: A modified factory Prvi Partisan 7.62mm Nagant cartridge. I carefully resized the factory cartridge in a 30 Carbine die, set the factory .308" 98 grain FMJ further down into the case, and shortened the case to 33mm in length.
The factory specs on the 7.62mm Nagant cartridge are pretty anemic with a muzzle velocity of only 738 fps, and therefore perfectly safe for use in any Swiss 1882 revolver. For comparison sake, my max IMR Trail Boss handloads are pushing 1000 fps with absolutely no ill effects on my revolver.
Walking on tundra at Sentry Island, a place well-utilized by Inuit "summer campers" since prehistory.
The entire island is a long, low sandy esker (glacier river bed) atop of glacial tills reworked by the marine beaches forming beside Hudson Bay. An esker is an in-glacier river formed during the melt-down of 3 km thick continental glacier ice sheet. The eskers hereabouts, like the glacier, flowed from west to east into Hudson Bay. The photo faces west or "up-stream" and "up-ice". The horizon is the mainland.
The land hereabouts is still rising from the release of the weight of ice sheet melted 8,000 to 10,000 years ago.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
DLP projectors utilizing a mechanical spinning color wheel may exhibit an anomaly known as the “rainbow effect.” This is best described as brief flashes of perceived red, blue, and green "shadows" observed most often when the projected content features high contrast areas of moving bright/white objects on a mostly dark/black background. The scrolling end credits of many movies are a common example, and also in animations where moving objects are surrounded by a thick black outline. Brief visible separation of the colours can also be apparent when the viewer moves their eyes quickly across the projected image. Some people perceive these rainbow artifacts frequently, while others may never see them at all.
en.wikipedia.org/wiki/Rainbow_effect#The_color_wheel_.22r...