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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?

The AX is the first autofocus Contax SLR produced by Kyocera. The AX achieves autofocus capability with the standard manual focus Carl Zeiss lenses by utilizing a specially-developed automatic back focusing system. With this system, the fixed mirror box, pentaprism assembly and film plane move as a unit along a ceramic rail to achieve focus. Contax later introduced the N1/NX series of autofocus film SLRs that used a new generation of autofocus Carl Zeiss lenses. The later model N1 and NX are not compatible with manual focus Contax/Yashica mount Carl Zeiss and Yashica lenses.

 

Being a long-time manual focus SLR user when the AX first came out, I at first did not know how to react to this camera. Recall at the time that many photographers were still shooting manual focus SLRs, such as the Nikon F3, Contax ST,etc. The AX generated a lot of commentary in the press and especially on the Internet soon after its release. Some thought it was great that Contax took this approach to finally develop an autofocus SLR. Others though this was an admission of defeat by a camera maker that waited far too long to get onto the autofocus SLR bandwagon. Looking back from a historical standpoint, the AX was a brilliant solution by Kyocera to try to compete in the autofocus SLR market while maintaining compatibility with their existing base of Contax line Carl Zeiss lenses. In a way, the RX and AX were stepping stones by Kyocera on their way from traditional manual focus to a complete autofocus system with the N1/NX.

 

For those who are used to the image of sleek, thin SLRs such as the RX and the ST, the AX does not immediately appear to be beautiful. The camera has the cosmetics of an RX, but the AX body is much thicker from front to back to make room for the moving focus assembly within the camera. However, once one gets used to the camera's bulky image, at least for a 35mm SLR, one realizes that it is packed with useful technology and really does combine the best features of automatic focus capabilities and compatibility with Carl Zeiss manual focus lenses.

 

The AX continued the tradition of providing the tank-like over-engineered feel common to most Contax bodies. The camera has a titanium top cover and an aluminum alloy die-cast chassis, and is made with the same attention to detail and finely-machined parts for which Contax cameras are renowned. All of the controls are consistent with the design of other high-end Contax cameras, employing the switches and knobs representative of a traditional analog user interface but which are actually electronic controls connected to state-of-the-are electronic circuitry within the camera. The camera weighs in at 1,080 grams without battery, so it is no lightweight. However, its weight is still acceptable when compared with certain other contemporaneous professional-level bodies from Contax (RTSIII), Nikon (F4 and F5) and others, especially after battery weight is factored in.

 

Let's check out the various features of this fascinating camera. Basically, the designers have successfully combined the best and most important features of the RX, ST and RTSIII, and then gone a step further by adding autofocus. The AX has a shutter speed dial positioned at the standard Contax location on the top left of the camera. While shutter speed can only be set from 4 sec. to 1/4000 sec. in manual and shutter priority mode, the shutter has an increased range from 32 sec. to 1/6000 sec. in Av and P modes. Surrounding the shutter speed dial is an exposure mode selector lever, which permits selection of the following metering modes: Av, Tv, P, M, X and B. The same lever is also used for selecting modes to directly adjust film ISO and to modify the custom functions of the camera. Custom functions such as film leader out on rewind are actually set using the two adjustment buttons on the top right of the camera. The AX has the standard Contax exposure compensation dial on the top right of the camera, which allows very easy and quick adjustment of exposure compensation in the range of +-2 EV. The exposure compensation dial is surrounded by the automatic bracketing control ("ABC") lever, which permits a series of three photographs to be taken with +- 0.5 or 1.0 EV exposure compensation. The ABC function works either by making one exposure with each press of the shutter release button, or a continuous burst of three frames as long as the shutter release button is held down, depending on how the drive mode selector dial is set (single or continuous exposure). The top-mounted drive mode selector dial allows adjustment for single frame exposure, continuous exposure (at 3 or 5 fps), multiple exposure, and self timer (2 or 10 second delay). Surrounding the drive mode selector dial is the focus mode selector lever. This lever allows rapid selection among manual focus, single autofocus, continuous autofocus, and a macro setting. A combination button/dial just under the thumb position on the back right of the camera body works with the focus mode selector lever to adjust the operation of the focus system. The main switch surrounding the shutter release button has the usual Contax autoexposure lock functionality. However, the AX adopts the RTSIII's very convenient placement of the exposure meter selection switch to the left side of the lens mount. Other controls include the standard Contax exposure check button and electronic depth-of-field preview button on the right front of the camera. The exposure check button activates the viewfinder information without the risk of tripping the shutter when trying to press the shutter release button down only half-way. The camera also provides built-it dioptric adjustment and a shutter for the viewfinder eyepiece.

 

The viewfinder of the AX is very good. The camera uses an oversized prism, providing a very bright view of the subject and a 95% field of view. While it is an autofocus camera, the AX, like the RX, also sports the traditional horizontal split image, microprism collar, and of course matte field optical focusing aids. All of the viewfinder readouts are located on a LCD display below the viewfinder image. This display includes an exposure frame counter, spot/average metering indicator, exposure compensation indicator (+ or -, as well as a numerical readout of the amount of compensation), flash indicator, back focus position indicator, in-focus indicator, aperture indicator, over/under exposure warning, and shutter speed indicator. Because of the packed real estate on the viewfinder LCD readout, there is unfortunately no room for a graphical indication of the exact amount of exposure compensation, or any indication of the amount of over/under exposure when setting exposure in M mode. Metering patterns are a 5 mm spot meter, which includes the area within the microprism focusing collar, and a wide area center-weighted average pattern. In addition to the standard FW-1 focusing screen, Contax also provides four other selections of focusing screens for various applications.

 

The flash functionality of the AX combines the best features of both the RX and the ST, but does not offer the pre-flash spot meter found on the RTSIII. Flash synch is at a fastest speed of 1/200 second. Among Contax electronic cameras, only the RTSIII offers a faster maximum synch speed (1/250 second). This speed should be fast enough for fill flash in most available light conditions. TTL flash appears to be based on a fairly narrow center-weighted pattern. The AX shares the RX's five-point flash contact on the accessory shoe, providing enhanced camera to flash communication, as well as a locking slot to keep the flash unit from falling off. With this improved communication, the Contax TLA flash readout panel will automatically reflect the film ISO and lens aperture, as well as activate the direct flash exposure compensation functionality on the flash unit itself. With this system, balanced fill flash is implemented by setting the appropriate negative flash compensation on the flash unit.

 

The AX can be fit with an optional multi-functional data back (D-8). This highly advanced data back allows the recording of data (such as shutter speed and aperture, date, time or exposure mode) between the film frames or on frames one and two at the beginning of the roll. Somewhat uniquely in its class, the D-8 also provides an intervalometer that can be set to trigger exposures from every two seconds to 99 hours, 59 minutes, 59 seconds.

 

The AX works on one 6V lithium 2CR5 battery. The battery is inserted on one side of the camera base, allowing the tripod mount of this relatively weighty camera to be placed at the body's center of balance. Kyocera claims that the battery has a capacity of about 50 rolls of 36-exposure film under their test conditions. The automatic back focusing system of the AX appears to be relatively energy-efficient. As I mentioned in my separate review for the RX, I prefer the use of lithium batteries in Contax cameras, which provides for longer time between battery changes, better cold weather performance, and lighter travelling weight.

 

The autofocus system of the AX utilizes an AF-assist beam, which is emitted from the right front of the camera. The camera’s autofocus capability is relatively fast and accurate for general use, especially for the time when the AX was released. It was not as fast as the autofocus systems on high-end sports-oriented cameras, such as the Nikon F5 or the Canon EOS 1n. Nevertheless, the AX's focusing speed and accuracy compared very favorably with other autofocus bodies offered by the competition. A very nice feature of the AX's autofocus system is its ability to turn almost any lens into a macro lens (by eliminating the need to use extension tubes). In normal (non-macro) autofocus mode, some care must be taken when focusing floating element/group lenses at relatively close distances.

 

Carl Zeiss Vario-Sonnar 28-85/3.3-4.0

 

The Carl Zeiss Vario-Sonar T* 28-85mm f/3.3-4 (MMJ) is an amazing precision work of metal and glass. This lens provides one of the most popular zoom ranges with photographers, and is also my favorite zoom range in the 35mm film world. I use this lens when I only want to carry one Carl Zeiss lens on a trip or outing and the 50/1.4 by itself won't do. The 29-75 degree angular field will cover you in most everyday situations. The f/3.3-4 maximum aperture range is not the greatest, but it is acceptable for normal use. (I generally won't use a zoom lens if the maximum aperture is smaller than f/4.) Anyway, this lens is already about maximum acceptable size and weight for hand-held use, and that is the purpose for which this lens was designed. Imagine how big and heavy the lens would be if it had larger maximum aperture! The lens is engineered in two parts; the rear barrel is fixed to the camera and includes the aperture ring. The front barrel twists for focus and slides in and out for zoom. The lens is at maximum length when it is zoomed to 28mm.

 

If you are using a Contax AX, you even get autofocus with all of your CZ lenses. Normally, you just set the lens focus to infinity and the AX autofocus function takes it from there. However, this lens if one of a few CZ lenses where you need to move the lens off of infinity to autofocus at the minimum end of the range, which is not a big deal. The focus/zoom movement is silky smooth.

 

The CZ 28-85/3.3-4 does have some disadvantages. It does not work well on a tripod, with the single ring design and lack of a tripod socket. It can be used on a sturdy-tripod with a heavier Contax body to support and balance the lens, but however irrationally, I would avoid doing it too much to avoid stressing the bayonet and mount on the lens and camera. (As mentioned in the introduction to the Carl Zeiss lens section, the metal mounting ring on the lens is relatively thin compared with the weight of CZ lenses and can be damaged if stressed too much. Indeed, I once damaged the mount of this lens by twisting it on while it wasn't exactly perpendicular to the camera body. Another disadvantage of the single ring design is that it is difficult to adjust the focus without nudging the zoom and vice versa. When carried over your shoulder while attached to the a camera body, the lens will always zoom out to maximum wide angle due to the weight of the front barrel. I have a habit of zooming the lens all the way out before slinging the camera over my shoulder. (Don't sling it around your neck, especially when attached to an RTSIII or you may cut off all blood flow to your brain! Still, its size and weight is about the same as a modern large-aperture autofocus zoom lens.)

 

I once had the infinity focus of this lens go out of adjustment. I couldn't turn the focusing ring far enough to focus at infinity. A trip to the authorized repair shop solved the focusing problem and above bent bayonet ring problem about 15 years ago, and the lens still appears fine to this day. One other quirk I noticed is that this zoom lens does not communicate the current value of the variable aperture to the camera. Thus if you zoom the lens all the way to telephoto while the lens is set to maximum aperture, for example, the aperture setting displayed in the viewfinder does not change to reflect the actual aperture value. Actually, it does not matter because the light meter still exposes the film properly; only the displayed value is slightly misleading.

 

How to carry this lens and body combination? As mentioned above, I usually use this lens when it is the only lens that I carry. For this purpose, I have a camera bag that is designed for a modern digital SLR body with a large zoom lens. I can attach this lens to any full-size Contax body and the combination fits in the bag like a glove.

 

The 28-85/3.3-4 lens takes large screw-in 82mm filters. Contax provided a very nice W-1 metal lens hood, which is matched to the zoom range of the lens and screws right on top of your filter. Also, Contax made a matching metal 99mm K-94 lens cap that snugly fit right on top of the W-1 lens hood. There is never any need to remove the filter and hood from the lens for storage or to use the smaller original lens cap.

 

Copyright © 1997-2015 Timothy A. Rogers. All rights reserved.

 

(DSC_5699al1br+6cl1br+15cl2cl3 Rev1)

+++ 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?

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

Cadets, Staff, and Soldiers conducted aircraft repelling operations utilizing two UH-60 Blackhawks in support of the Air Assault training, July 1, 2023, at West Point, N.Y. Canidates are trained in Air Assault operations, sling-load operations, and rappelling. Upon graduation of the course each Soldier will be able to perform skills required to make maximum use of helicopter assets in training and in combat to support their unit operations. Air Assault School is one of the most physically challenging 10 days in the Army. (U.S. Army Photos by SFC Luisito Brooks)

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!

Marines from 2nd Reconnaissance Platoon, Battalion Landing Team 1st Battalion, 9th Marine Regiment 24th Marine Expeditionary Unit, utilize snipers skills, fast-roping, and small arms fire while doing sustainment training in Djibouti. The 24th MEU remains as one of the most expedient units and rapid-response force ready to perform a full scale of missions ranging from humanitarian relief to full-scale combat operations.

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 John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of American spaceflight, research, and technology. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC. Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.

 

Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.

 

Additionally, the center manages launch of robotic and commercial crew missions and researches food production and in-situ resource utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.

 

There are about 700 facilities and buildings grouped throughout the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex on site that is open to the public.

 

Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.

 

President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.

 

NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.

 

On November 29, 1963, the facility was named by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.

 

Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.

 

From 1967 through 1973, there were 13 Saturn V launches, including the ten remaining Apollo missions after Apollo 7. The first of two uncrewed flights, Apollo 4 (Apollo-Saturn 501) on November 9, 1967, was also the first rocket launch from KSC. The Saturn V's first crewed launch on December 21, 1968, was Apollo 8's lunar orbiting mission. The next two missions tested the Lunar Module: Apollo 9 (Earth orbit) and Apollo 10 (lunar orbit). Apollo 11, launched from Pad A on July 16, 1969, made the first Moon landing on July 20. The Apollo 11 launch included crewmembers Neil Armstrong, Michael Collins, and Buzz Aldrin, and attracted a record-breaking 650 million television viewers. Apollo 12 followed four months later. From 1970 to 1972, the Apollo program concluded at KSC with the launches of missions 13 through 17.

 

On May 14, 1973, the last Saturn V launch put the Skylab space station in orbit from Pad 39A. By this time, the Cape Kennedy pads 34 and 37 used for the Saturn IB were decommissioned, so Pad 39B was modified to accommodate the Saturn IB, and used to launch three crewed missions to Skylab that year, as well as the final Apollo spacecraft for the Apollo–Soyuz Test Project in 1975.

 

As the Space Shuttle was being designed, NASA received proposals for building alternative launch-and-landing sites at locations other than KSC, which demanded study. KSC had important advantages, including its existing facilities; location on the Intracoastal Waterway; and its southern latitude, which gives a velocity advantage to missions launched in easterly near-equatorial orbits. Disadvantages included: its inability to safely launch military missions into polar orbit, since spent boosters would be likely to fall on the Carolinas or Cuba; corrosion from the salt air; and frequent cloudy or stormy weather. Although building a new site at White Sands Missile Range in New Mexico was seriously considered, NASA announced its decision in April 1972 to use KSC for the shuttle. Since the Shuttle could not be landed automatically or by remote control, the launch of Columbia on April 12, 1981 for its first orbital mission STS-1, was NASA's first crewed launch of a vehicle that had not been tested in prior uncrewed launches.

 

In 1976, the VAB's south parking area was the site of Third Century America, a science and technology display commemorating the U.S. Bicentennial. Concurrent with this event, the U.S. flag was painted on the south side of the VAB. During the late 1970s, LC-39 was reconfigured to support the Space Shuttle. Two Orbiter Processing Facilities were built near the VAB as hangars with a third added in the 1980s.

 

KSC's 2.9-mile (4.7 km) Shuttle Landing Facility (SLF) was the orbiters' primary end-of-mission landing site, although the first KSC landing did not take place until the tenth flight, when Challenger completed STS-41-B on February 11, 1984; the primary landing site until then was Edwards Air Force Base in California, subsequently used as a backup landing site. The SLF also provided a return-to-launch-site (RTLS) abort option, which was not utilized. The SLF is among the longest runways in the world.

 

On October 28, 2009, the Ares I-X launch from Pad 39B was the first uncrewed launch from KSC since the Skylab workshop in 1973.

 

Beginning in 1958, NASA and military worked side by side on robotic mission launches (previously referred to as unmanned), cooperating as they broke ground in the field. In the early 1960s, NASA had as many as two robotic mission launches a month. The frequent number of flights allowed for quick evolution of the vehicles, as engineers gathered data, learned from anomalies and implemented upgrades. In 1963, with the intent of KSC ELV work focusing on the ground support equipment and facilities, a separate Atlas/Centaur organization was formed under NASA's Lewis Center (now Glenn Research Center (GRC)), taking that responsibility from the Launch Operations Center (aka KSC).

 

Though almost all robotics missions launched from the Cape Canaveral Space Force Station (CCSFS), KSC "oversaw the final assembly and testing of rockets as they arrived at the Cape." In 1965, KSC's Unmanned Launch Operations directorate became responsible for all NASA uncrewed launch operations, including those at Vandenberg Space Force Base. From the 1950s to 1978, KSC chose the rocket and payload processing facilities for all robotic missions launching in the U.S., overseeing their near launch processing and checkout. In addition to government missions, KSC performed this service for commercial and foreign missions also, though non-U.S. government entities provided reimbursement. NASA also funded Cape Canaveral Space Force Station launch pad maintenance and launch vehicle improvements.

 

All this changed with the Commercial Space Launch Act of 1984, after which NASA only coordinated its own and National Oceanic and Atmospheric Administration (NOAA) ELV launches. Companies were able to "operate their own launch vehicles" and utilize NASA's launch facilities. Payload processing handled by private firms also started to occur outside of KSC. Reagan's 1988 space policy furthered the movement of this work from KSC to commercial companies. That same year, launch complexes on Cape Canaveral Air Force Force Station started transferring from NASA to Air Force Space Command management.

 

In the 1990s, though KSC was not performing the hands-on ELV work, engineers still maintained an understanding of ELVs and had contracts allowing them insight into the vehicles so they could provide knowledgeable oversight. KSC also worked on ELV research and analysis and the contractors were able to utilize KSC personnel as a resource for technical issues. KSC, with the payload and launch vehicle industries, developed advances in automation of the ELV launch and ground operations to enable competitiveness of U.S. rockets against the global market.

 

In 1998, the Launch Services Program (LSP) formed at KSC, pulling together programs (and personnel) that already existed at KSC, GRC, Goddard Space Flight Center, and more to manage the launch of NASA and NOAA robotic missions. Cape Canaveral Space Force Station and VAFB are the primary launch sites for LSP missions, though other sites are occasionally used. LSP payloads such as the Mars Science Laboratory have been processed at KSC before being transferred to a launch pad on Cape Canaveral Space Force Station.

 

On 16 November 2022, at 06:47:44 UTC the Space Launch System (SLS) was launched from Complex 39B as part of the Artemis 1 mission.

 

As the International Space Station modules design began in the early 1990s, KSC began to work with other NASA centers and international partners to prepare for processing before launch onboard the Space Shuttles. KSC utilized its hands-on experience processing the 22 Spacelab missions in the Operations and Checkout Building to gather expectations of ISS processing. These experiences were incorporated into the design of the Space Station Processing Facility (SSPF), which began construction in 1991. The Space Station Directorate formed in 1996. KSC personnel were embedded at station module factories for insight into their processes.

 

From 1997 to 2007, KSC planned and performed on the ground integration tests and checkouts of station modules: three Multi-Element Integration Testing (MEIT) sessions and the Integration Systems Test (IST). Numerous issues were found and corrected that would have been difficult to nearly impossible to do on-orbit.

 

Today KSC continues to process ISS payloads from across the world before launch along with developing its experiments for on orbit. The proposed Lunar Gateway would be manufactured and processed at the Space Station Processing Facility.

 

The following are current programs and initiatives at Kennedy Space Center:

Commercial Crew Program

Exploration Ground Systems Program

NASA is currently designing the next heavy launch vehicle known as the Space Launch System (SLS) for continuation of human spaceflight.

On December 5, 2014, NASA launched the first uncrewed flight test of the Orion Multi-Purpose Crew Vehicle (MPCV), currently under development to facilitate human exploration of the Moon and Mars.

Launch Services Program

Educational Launch of Nanosatellites (ELaNa)

Research and Technology

Artemis program

Lunar Gateway

International Space Station Payloads

Camp KSC: educational camps for schoolchildren in spring and summer, with a focus on space, aviation and robotics.

 

The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.

 

Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery Archived December 6, 2020, at the Wayback Machine or through their more up-to-date Flickr gallery.

 

A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.

 

The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.

 

The Neil Armstrong Operations and Checkout Building (O&C) (previously known as the Manned Spacecraft Operations Building) is a historic site on the U.S. National Register of Historic Places dating back to the 1960s and was used to receive, process, and integrate payloads for the Gemini and Apollo programs, the Skylab program in the 1970s, and for initial segments of the International Space Station through the 1990s. The Apollo and Space Shuttle astronauts would board the astronaut transfer van to launch complex 39 from the O&C building.

The three-story, 457,000-square-foot (42,500 m2) Space Station Processing Facility (SSPF) consists of two enormous processing bays, an airlock, operational control rooms, laboratories, logistics areas and office space for support of non-hazardous Space Station and Shuttle payloads to ISO 14644-1 class 5 standards. Opened in 1994, it is the largest factory building in the KSC industrial area.

The Vertical Processing Facility (VPF) features a 71-by-38-foot (22 by 12 m) door where payloads that are processed in the vertical position are brought in and manipulated with two overhead cranes and a hoist capable of lifting up to 35 short tons (32 t).

The Hypergolic Maintenance and Checkout Area (HMCA) comprises three buildings that are isolated from the rest of the industrial area because of the hazardous materials handled there. Hypergolic-fueled modules that made up the Space Shuttle Orbiter's reaction control system, orbital maneuvering system and auxiliary power units were stored and serviced in the HMCF.

The Multi-Payload Processing Facility is a 19,647 square feet (1,825.3 m2) building used for Orion spacecraft and payload processing.

The Payload Hazardous Servicing Facility (PHSF) contains a 70-by-110-foot (21 by 34 m) service bay, with a 100,000-pound (45,000 kg), 85-foot (26 m) hook height. It also contains a 58-by-80-foot (18 by 24 m) payload airlock. Its temperature is maintained at 70 °F (21 °C).[55]

The Blue Origin rocket manufacturing facility is located immediately south of the KSC visitor complex. Completed in 2019, it serves as the company's factory for the manufacture of New Glenn orbital rockets.

 

Launch Complex 39 (LC-39) was originally built for the Saturn V, the largest and most powerful operational launch vehicle until the Space Launch System, for the Apollo crewed Moon landing program. Since the end of the Apollo program in 1972, LC-39 has been used to launch every NASA human space flight, including Skylab (1973), the Apollo–Soyuz Test Project (1975), and the Space Shuttle program (1981–2011).

 

Since December 1968, all launch operations have been conducted from launch pads A and B at LC-39. Both pads are on the ocean, 3 miles (4.8 km) east of the VAB. From 1969 to 1972, LC-39 was the "Moonport" for all six Apollo crewed Moon landing missions using the Saturn V, and was used from 1981 to 2011 for all Space Shuttle launches.

 

Human missions to the Moon required the large three-stage Saturn V rocket, which was 363 feet (111 meters) tall and 33 feet (10 meters) in diameter. At KSC, Launch Complex 39 was built on Merritt Island to accommodate the new rocket. Construction of the $800 million project began in November 1962. LC-39 pads A and B were completed by October 1965 (planned Pads C, D and E were canceled), the VAB was completed in June 1965, and the infrastructure by late 1966.

 

The complex includes: the Vehicle Assembly Building (VAB), a 130,000,000 cubic feet (3,700,000 m3) hangar capable of holding four Saturn Vs. The VAB was the largest structure in the world by volume when completed in 1965.

a transporter capable of carrying 5,440 tons along a crawlerway to either of two launch pads;

a 446-foot (136 m) mobile service structure, with three Mobile Launcher Platforms, each containing a fixed launch umbilical tower;

the Launch Control Center; and

a news media facility.

 

Launch Complex 48 (LC-48) is a multi-user launch site under construction for small launchers and spacecraft. It will be located between Launch Complex 39A and Space Launch Complex 41, with LC-39A to the north and SLC-41 to the south. LC-48 will be constructed as a "clean pad" to support multiple launch systems with differing propellant needs. While initially only planned to have a single pad, the complex is capable of being expanded to two at a later date.

 

As a part of promoting commercial space industry growth in the area and the overall center as a multi-user spaceport, KSC leases some of its properties. Here are some major examples:

 

Exploration Park to multiple users (partnership with Space Florida)

Shuttle Landing Facility to Space Florida (who contracts use to private companies)

Orbiter Processing Facility (OPF)-3 to Boeing (for CST-100 Starliner)

Launch Complex 39A, Launch Control Center Firing Room 4 and land for SpaceX's Roberts Road facility (Hanger X) to SpaceX

O&C High Bay to Lockheed Martin (for Orion processing)

Land for FPL's Space Coast Next Generation Solar Energy Center to Florida Power and Light (FPL)

Hypergolic Maintenance Facility (HMF) to United Paradyne Corporation (UPC)

 

The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.

 

It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.

 

In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.

 

Historic locations

NASA lists the following Historic Districts at KSC; each district has multiple associated facilities:

 

Launch Complex 39: Pad A Historic District

Launch Complex 39: Pad B Historic District

Shuttle Landing Facility (SLF) Area Historic District

Orbiter Processing Historic District

Solid Rocket Booster (SRB) Disassembly and Refurbishment Complex Historic District

NASA KSC Railroad System Historic District

NASA-owned Cape Canaveral Space Force Station Industrial Area Historic District

There are 24 historic properties outside of these historic districts, including the Space Shuttle Atlantis, Vehicle Assembly Building, Crawlerway, and Operations and Checkout Building.[71] KSC has one National Historic Landmark, 78 National Register of Historic Places (NRHP) listed or eligible sites, and 100 Archaeological Sites.

 

Further information: John F. Kennedy Space Center MPS

Other facilities

The Rotation, Processing and Surge Facility (RPSF) is responsible for the preparation of solid rocket booster segments for transportation to the Vehicle Assembly Building (VAB). The RPSF was built in 1984 to perform SRB operations that had previously been conducted in high bays 2 and 4 of the VAB at the beginning of the Space Shuttle program. It was used until the Space Shuttle's retirement, and will be used in the future by the Space Launch System[75] (SLS) and OmegA rockets.

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

 

www.koziarschristmasvillage.com/

 

From Wikipedia, the free encyclopedia

 

A dabbawala; also spelled as dabbawalla or dabbawallah; is a person in India, most commonly in Mumbai, who is part of a delivery system that collects hot food in lunch boxes from the residences of workers in the late morning, delivers the lunches to the workplace utilizing various modes of transport, predominantly bicycles and the railway trains, and returns the empty boxes back to the customer's residence that afternoon. They are also made use of by prominent meal suppliers in Mumbai where they ferry ready, cooked meals from central kitchens to the customers and back.

 

In Mumbai, most office goers prefer to eat home cooked food rather than eat outside, usually for reasons of taste and hygiene, hence the concept. A number of work-from-home women also supply such home cooked meals, delivering through the dabbawala network.[1]

  

Etymology[edit]

  

A dabba, or Indian-style tiffin box.

  

Box coding

The word "dabbawala" when literally translated, means "one who carries a box". "Dabba" means a box (usually a cylindrical tin or aluminium container), while "wala" is a suffix, denoting a doer or holder of the preceding word.[2] The closest meaning of the dabbawala in English would be the "lunch box delivery man".

 

Origins[edit]

In 1890, Mahadeo Havaji Bachche started a lunch delivery service with about a hundred men.[3] In 1930, he informally attempted to unionize the dabbawallas. Later, a charitable trust was registered in 1956 under the name of Nutan Mumbai Tiffin Box Suppliers Trust. The commercial arm of this trust was registered in 1968 as Mumbai Tiffin Box Supplier's Association. The current president of the association is Raghunath Medge.

 

Supply chain[edit]

A collecting dabbawala, usually on bicycle, collects dabbas either from a worker's home or from the dabba makers. As many of the carriers are of limited literacy (the average literacy of Dabbawallahs is 8th grade[4]), the dabbas (boxes) have some sort of distinguishing mark on them, such as a colour or group of symbols.

 

The dabbawala then takes them to a designated sorting place, where he and other collecting dabbawalas sort (and sometimes bundle) the lunch boxes into groups. The grouped boxes are put in the coaches of trains, with markings to identify the destination of the box (usually there is a designated car for the boxes). The markings include the railway station to unload the boxes and the destination building delivery address.

 

At each station, boxes are handed over to a local dabbawala, who delivers them. The empty boxes are collected after lunch or the next day and sent back to the respective houses.

 

Dabbawallas tend to belong to the Varkari sect of Maharashtra and consider Tukaram's teachings of helping each other to be central to their efficiency and motivation.[5]

 

Appearance and coding[edit]

Lunch boxes are usually marked in several ways: (1) abbreviations for collection points, (2) colour code for starting station, (3) number for destination station and (4) markings for handling dabbawala at destination, building and floor.[6]

  

A typical dabbawala lunch.

  

It was estimated in 2007 that the dabbawala industry was still growing by 5-10% per annum.[7]

The dabbawalas have started to embrace technology, and now allow for delivery requests through SMS.[8] A colour-coding system identifies the destination and recipient. Each dabbawala is required to contribute a minimum capital in kind, in the form of two bicycles, a wooden crate for the tiffins, white cotton kurta-pyjamas, and the white Gandhi cap (topi). Each month there is a division of the earnings of each unit.

 

Uninterrupted services[edit]

The service is almost always uninterrupted, even on the days of severe weather such as monsoons. The local dabbawalas and population know each other well, and often form bonds of trust. Dabbawalas are generally well accustomed to the local areas they cater to, and use shortcuts and other low profile routes to deliver their goods on time. Occasionally, people communicate between home and work by putting messages inside the boxes (See: The Lunchbox film); however, with the rise of instant communication such as SMS and instant messaging, this trend is vanishing. Since 1890, when the dabbawalas formally came into existence, none of them had ever gone on strike until 2011 when the members decided to head towards Azad Maidan to support Anna Hazare in his campaign against corruption.[9]

 

Economic analysis[edit]

Each dabbawala, regardless of role, is paid about eight thousand rupees per month. Between 175,000 and 200,000 lunch boxes are moved by 4,500 to 5,000 dabbawalas, all with an extremely small nominal fee and with utmost punctuality.

 

It is frequently claimed that dabbawalas make less than one mistake in every six million deliveries.[10] However, this error rate is conservative as it is estimated from Ragunath Medge, the president of the Mumbai Tiffinmen's Association in 1998, and is not from a rigorous study. Medge told Subrata Chakravarty, the lead author of the 'Fast Food' article by Forbes.[11] that dabbawalas make a mistake "almost never, maybe once every two months" and this statement was extrapolated by Subrata Chakravarty to be a rate of "one mistake in 8 million deliveries." [12]

 

The ABC has produced a documentary on dabbawalas [13] and Prince Charles visited them during his visit to India; he had to fit in with their schedule, since their timing was too precise to permit any flexibility. Charles also invited them to his wedding with Camilla Parker Bowles in London on 9 April 2005. Owing to the tremendous publicity, some of the dabbawalas were invited to give guest lectures in some of the top business schools of India, which is very unusual.

 

The New York Times reported in 2007 that the 125-year-old dabbawala industry continues to grow at a rate of 5–10% per year.[7]

 

Awards, Studies and recognition[edit]

Awards / Accreditations[edit]

ISO 9001:2000 certified by the Joint Accreditation System of Australia and New Zealand [14]

Studies and accolades[edit]

In 2001, Pawan G. Agrawal carried out his PhD research in " A Study & Logistics & Supply Chain Management of Dabbawala in Mumbai". He often presents his results on the efficiency of Dabbawallas in various fora.[15]

In 2005, the Indian Institute of Management (Ahmedabad) featured a case study on the Mumbai Dabbawallas from a management perspective of logistics.[16]

In 2010, Harvard Business School added the case study The Dabbawala System: On-Time Delivery, Every Time to their compendium for its high level of service (equivalent of Six Sigma or better) with a low cost and simple operating system.[17]

Six Sigma myth[edit]

It has been frequently asserted that dabbawalas were awarded a Six Sigma certification by Forbes magazine. This is a myth perpetuated by the news media who inferred the accreditation from the 1998 article in Forbes.[18] In 2007, an explanation was provided by the lead author of the article, Subrata Chakravarty in a private email correspondence to Gauri Sanjeev Pathak:

 

"Forbes never certified the dabbawalas as being a six-sigma organization. In fact, I never used the term at all. As you know, six-sigma is a process, not a statistic. But it is commonly associated with a statistic of 3.4 errors per million operations, and that is what caused the confusion … . I was impressed by the efficiency and complexity of the process by which some 175,000 tiffin boxes were sorted, transported, delivered and returned each day by people who were mostly illiterate and unsophisticated. I asked the head of the organization how often they made a mistake. He said almost never, maybe once every two months. Any more than that would be unforgivable to customers. I did the math, which works out to one mistake in 8 million deliveries—or 16 million, since the tiffin carriers are returned home each day. That is the statistic I used. Apparently, at a conference in 2002, a reporter asked the president … whether the tiffinwallahs were a six-sigma organization. He said he didn't know what that was. When told about the 3.4 error-per-million statistic, I'm told he said: "Then we are. Just ask Forbes". The reporter, obviously without having read my story, wrote that Forbes had certified the tiffinwallahs as a six-sigma organization. That phrase was picked up and repeated by other reporters in other stories and now seems to have become part of the folklore."

 

—Subrata Chakravarty, [12]

"Experience is what you get, when you don't get what you want." - SDBWQ

 

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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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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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ART OF PHOTOGRAPHY & WORLD THROUGH THE EYES OF SERIOUS PHOTOGRAPHERS on facebook

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HIMACHAL Kullu Manali, Sundernagar Mandi, Dharamsala,Shimla,Lahaul Spiti12

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ART OF PHOTOGRAPHY & WORLD THROUGH SERIOUS PHOTOGRAPHERS EYES

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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.

 

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Sparrowhawk

 

Accipiter nisus

 

Spioróg

 

Status: Common resident, with occasional winter visitors from Continental Europe.

 

Conservation Concern: Green-listed in Ireland. The European population has been evaluated as Secure.

 

Identification: A small bird of prey (raptor) with broad wings with blunt wing tips and a long tail. Small hooked bill suitable for eating meat. Tail is banded in all plumages with four or five bands. The sexes are different in size, the female is larger than the male. Sparrowhawks have barred underparts in all plumages, with the barring extending across the underwings, breast, belly and flanks. Males are bluish-grey above and often have orangey-brown barring on the breast, belly and underwing coverts; the rest of the barring is brown. Females are grey above with brown-grey barring on the underparts. Juvenile birds are dark brown on the upperparts with finely marked feathers; the underparts are coarsely and irregularly barred.

 

Similar Species: Goshawk, Kestrel

 

Call: The main call a rapid high pitched chattering, which is usually only heard in the breeding season.

 

Diet: Usually small birds which are taken when perched or in flight, sometimes after a long chase. Attacks with one or both feet, will pursue prey on foot. Sparrowhawks often utilize hedge rows or other cover, flying low on one side and then crossing over to other side to surprise its prey. Is a master of flying in woodland where it can fly through small gaps in branches pursuit of its prey, displaying great agility. Will use woodland edges, rides as well as any cover, especially cover that adjoins woodland. Will even pursue prey birds on foot over the ground.

 

Breeding: Probably the most common bird of prey in Ireland. Widespread in woodland, farmland with woods, larger parks and gardens. Nests in trees. Breeds throughout Ireland but is scarce in the west, where tree cover is low. Formally bird of woodland, it is now also found extensively in wooded farmland and will venture into urban gardens, where small birds attracted to bird feeders are taken, much to some peoples distress.

 

Wintering: Resident in Ireland. Can be seen throughout the country, although numbers will be low in the some parts of the west. Resident birds will be joined by wintering birds from Britain and Europe.

 

Where to See: Many people see these birds in their gardens, where they will be hunting on small birds. Can be difficult to spot in the countryside but will often give good views, when flying over head, where it may on 'prospecting' flights

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

 

sezo.net/how-can-you-utilize-breast-milk-in-stock/

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.

A kinetic photograph taken utilizing a combination of long exposure, handheld camera movement, and throwing the camera into the air with a spin. Texture added in post-processing. The rectangular object in the photo is my computer monitor, and if you look closely you'll recognize that I have my photograph of my meal of fried potatoes (from my set, Recipes) on the monitor as my background photo.

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.

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.

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 .

 

1015-1290-24

 

Dr. Knisley bridge was built in 1867 and the builder is unknown and is privately owned. The structure construction utilizes the Burr truss its length is 80ft and width 12 ft. The bridge is only open to foot traffic and it crosses Dunnings Creek. The location of the bridge is just north of State Route 4013, a short distance southwest of State Route 56, approximately 1.4 miles southeast of Pleasantville in West St. Clair Twp.

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...

SHADOW HILLS - Los Angeles Firefighters utilized an aerial ladder truck in a crane-like fashion to rescue an injured equestrienne from the bottom of a steep concrete-lined channel, after she tumbled from her horse on February 15, 2014. © Photo by Mike Meadows

 

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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.

VAN NUYS - It took nearly 170 Los Angeles Firefighters utilizing defensive tactics, almost three hours to fully control a massive non-injury blaze at a vacant 2 story motel in the 6500 block of North Sepulveda Boulevard on February 14, 2016.

 

Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Jeremy Oberstein

 

LAFD Incident # 021416-0886

 

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Kenosha PCC street car rounds the curve enroute to the Metra station

 

Johnstown Traction Company 4615 'Johnstown',

 

At the turn of the 21st century, Kenosha constructed a modern electric streetcar system utilizing historic PCC streetcars in coordination with the HarborPark development on the shores of Lake Michigan. The line has become a model project studied by urban planners worldwide, and is used by thirty percent of visitors to Kenosha.

 

Installation of the tram track sub-base was completed in the autumn of 1998 and utilized crushed concrete from the foundations of the 1870-era Simmons Bedding Company / American Motors Corporation office and plant buildings east of Fifth Avenue. As the new streets in HarborPark were completed in the fall of 1999, crews installed new 115-pound-per-yard (57 kg/m) continuously welded rail streetcar track over modern concrete ties (except for standard wooden ties under grade crossings). Electric overhead line construction for 600-volt direct current was completed in April 2000 and energized by a modern solid state substation.

 

Kenosha's five historic 'Red Rocket' PCC A15-class streetcars were built in Montreal for the Toronto Transit Commission in 1951 by Canada Car and Foundry under license from the St. Louis Car Company, and were remanufactured and rebodied from the windows down in 1991. Each Kenosha car is painted in a unique livery representing an historic American transit system that also operated PCC streetcars. The first of Kenosha's streetcars was 4610 'Toronto' (originally 4541), delivered on May 4, 2000. The four other cities and systems thereby represented include Chicago Surface Lines 4606 'Green Hornet', Pittsburgh Railways Company 4609 'Pittsburgh', Johnstown Traction Company 4615 'Johnstown', and Cincinnati Street Railways 4616 'Cincinnati'.

 

The ceremonial dedication of the streetcar line and the new Transit Center was held on June 17, 2000, and the memorial ribbon was broken at 11 AM by 4610 'Toronto', piloted by Richard Lindgren who had been a motorman for the original Kenosha Electric Railway (KERy) in 1932.

 

Utilizing this as something to actually be graded now despite it being a "design" project

Артиллерийский музей. Питер.

Artillery Museum. Saint-Petersburg.

 

Тhe 2S9 NONA (Новейшее Орудие Наземной Артилерии - Newest Ordnance of Ground Artillery) is a self-propelled 120 mm mortar designed by the Soviet Union and entering service in 1981. The 2S9 chassis is designated the S-120 and based on the aluminium hull of the BTR-D airborne multi-purpose tracked armoured personnel carrier. More generally, the 120 mm mortar is referred to as the Nona, with the 2S9 also known as the Nona-S; a BTR-80 based version is the 2S23 or Nona-SVK, and the towed 2B16 anti-tank gun version is named the Nona-K. Although no figures have been released it is estimated that well over 1,000 2S9 were built.

The 2S9 Nona-S is an amphibious vehicle that can be propelled through the water by two rear water-jets. It is operated by a four man crew composed of a commander, driver/mechanic, gunner, and loader. The hull interior of the 2S9 is separated into a command compartment, a fighting compartment and an engine compartment. A welded steel turret is placed at the middle of the hull. The two man turret has hatches for the gunner and loader respectively. The 2S9 utilizes a 120 mm 2A60 mortar with a 1.8 meter long barrel. It is breech-loaded and capable of firing HE (high explosive), white phosphorus and smoke rounds.

 

Airmen assigned to the 3rd Air Support Operations Squadron fire M4 carbines during live-fire sustainment training at Joint Base Elmendorf-Richardson, Alaska, Sept. 28, 2017. During the live-fire training exercise the 3rd ASOS Airmen honed their marksmanship skills and practiced firing from various positions utilizing the M9 pistol and M4 carbine. (U.S. Air Force photo by Alejandro Peña)

Cadets, Staff, and Soldiers conducted aircraft repelling operations utilizing two UH-60 Blackhawks in support of the Air Assault training, July 1, 2023, at West Point, N.Y. Canidates are trained in Air Assault operations, sling-load operations, and rappelling. Upon graduation of the course each Soldier will be able to perform skills required to make maximum use of helicopter assets in training and in combat to support their unit operations. Air Assault School is one of the most physically challenging 10 days in the Army. (U.S. Army Photos by SFC Luisito Brooks)

My entire engine set (over 120 images)

www.flickr.com/photos/gordoncalder/sets/72157612757443903...

  

This very nice example pictured at the Brooklands Museum.

 

The 11/50 was in a different league:- 1100cc, 60 degree side valve v-twin, torque to climb the side of a house, enough for any sidecar exponent. Typical of George Brough flair was the name, 11/50. All JAP engines were similarly specified: - i.e. 8/30, 8/50 etc.This meant eight horsepower RAC rating, followed by the actual brake horsepower, 30 or 50 and so on. George promised power with that 11/50, 11 of RAC rating and 50 BHP from the engine. Or so it would seem. Actual engine power peaked at 32 bhp .You can see George smiling.

 

The new cradle frame was used, with either Castle or more likely Brampton Monarch Forks. A four speed Sturmey Archer gearbox with hand change. The engine had detachable aluminium cylinder heads, valve spring enclosures, & dry sump lubrication.

A specially tuned one reached a dizzy 101 mph. More likely was about 90 for the average.

 

A considerable percentage of 11/50 production went to Police Forces in England and abroad. (Australia and Canada).

Text from theBrough Superior Club - www.broughsuperiorclub.com/pages/models/1933.htm

 

More info:

en.wikipedia.org/wiki/Brough_Superior

 

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These images CANNOT BE COPIED, DISTRIBUITED or PUBLISHED for any media, electronic or otherwise unless permission is granted by the owner of the original image.

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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!

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.

JP utilizes authentic henna powder made with natural quality ingredients. He has developed a distinct style of his own, where he uses simple things like toothpicks, knitting needles, paintbrushes, and his signature plastic craft bottle with a metal dispensing tip for the mehendi designs. He is a genius in bridal mehendi and will engrave a masterpiece on your hand.

 

Book JP Bridal Mehendi @Weddingz.in

Seguin Storage owner Timothy Oglesby utilized a U.S. Department of Agriculture (USDA) Rural Development (RD) Rural Utilities Service (RUS) Rural Energy for America Program (REAP) to help with the photovoltaic array (solar panels) to reduce the cost of operating his storage facility in Seguin, Texas, on March 24, 2020. This is the first phase of the complex that will have additional storage buildings with plans to install arrays on each.

 

Rural Energy for America Program (REAP) was used FY 2017 for a grant amount of $18,729.75 toward the

30.7 kW Solar Photovoltaic system placed on the roof of a new climate-controlled storage facility. The solar array produces an average of 44,193 kWh annually. Based on an average price of $0.089 per kWh the small business grantee should save $3,933.17 per year. The grant was 25% of the total eligible project costs ($74,919) for a total of $18,729.75. The return on investment for this project is 19 years.

 

RD is committed to helping improve the economy and quality of life in rural America. Through our programs, we help rural Americans in many ways by offering loans, grants, and loan guarantees to help create jobs and support economic development and essential services such as housing; health care; first responder services and equipment; and water, electricity, and communications infrastructure. To learn more information about RD, please see rd.usda.gov

  

RUS provides the much-needed infrastructure or infrastructure improvements to rural communities. These include water and waste treatment, electric power, and telecommunications services. All of these services help to expand economic opportunities and improve the quality of life for rural residents. For more information about RUS, please go to rd.usda.gov/about-rd/agencies/rural-utilities-service

USDA Photos by Lance Cheung.

VAN NUYS - It took nearly 170 Los Angeles Firefighters utilizing defensive tactics, almost three hours to fully control a massive non-injury blaze at a vacant 2 story motel in the 6500 block of North Sepulveda Boulevard on February 14, 2016

© Photo by Rick McClure

 

LAFD Incident # 021416-0886

 

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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.

"Scott and Balfour Stores is a historic building in Savannah, Georgia, United States. Located in Savannah's Historic District, the addresses of some of the properties are East Bay Street, above Factors Walk, while others solely utilize the former King Cotton warehouses on River Street. As of February 2022, these are The Shrimp Factor, Bob's Your Uncle/Fannie's Your Aunt and Simply Savannah.

 

The property was built for Andrew Low, Robert Scott and John Balfour from 1823 to 1826. The top storey was added in the 1850s. Low was one of Savannah's most renowned cotton merchants, in business by the late 18th century.

 

In a survey for the Historic Savannah Foundation, Mary Lane Morrison found the building to be of significant status.

 

The building stands adjacent to the George Anderson Stores at 402–410 East Bay Street.

 

River Street is a commercial street and promenade in Savannah, Georgia, United States. It runs along the southern edge of the Savannah River for 2 miles (3.2 km), from the merging of North and East Lathrop Avenues in the west to East Bay Street in the east. Its most well-known section runs from the Talmadge Memorial Bridge, then below City Hall and Yamacraw Bluff, to its eastern terminus. It is West River Street up to where the Hyatt Regency Savannah spans it. It is here, around 40 feet (12 m) below Bay Street, that it becomes East River Street. The street is one-way (westbound) from Martin Luther King Jr. Boulevard.

 

Today, East River Street consists largely of restaurants, cafés and craft shops, and is one of the city's major tourist attractions. Its half-mile-long pedestrian promenade, the John P. Rousakis Riverfront Plaza, is named for Savannah's longest-serving mayor (1970–1992).

 

At its downtown stretch, the street's southern side is populated by terraces of former King Cotton warehouses, the industrial rear portions of the more fashionable Bay Street frontages. Factors Row, a bluffside row of red-brick buildings where cotton brokers bargained during the product's heyday, helps preserve this industry in its name. Factors Walk is "built on the middle level of a sloping bluff with warehouses beneath and Bay Street above." The warehouses were also used as holding cells for African slaves.

 

Savannah (/səˈvænə/ sə-VAN-ə) is the oldest city in the U.S. state of Georgia and is the county seat of Chatham County. Established in 1733 on the Savannah River, the city of Savannah became the British colonial capital of the Province of Georgia and later the first state capital of Georgia. A strategic port city in the American Revolution and during the American Civil War, Savannah is today an industrial center and an important Atlantic seaport. It is Georgia's fifth-largest city, with a 2020 U.S. Census population of 147,780. The Savannah metropolitan area, Georgia's third-largest, had a 2020 population of 404,798.

 

Each year, Savannah attracts millions of visitors to its cobblestone streets, parks, and notable historic buildings. These buildings include the birthplace of Juliette Gordon Low (founder of the Girl Scouts of the USA), the Georgia Historical Society (the oldest continually operating historical society in the South), the Telfair Academy of Arts and Sciences (one of the South's first public museums), the First African Baptist Church (one of the oldest African-American Baptist congregations in the United States), Temple Mickve Israel (the third-oldest synagogue in the U.S.), and the Central of Georgia Railway roundhouse complex (the oldest standing antebellum rail facility in the U.S.).

 

Savannah's downtown area, which includes the Savannah Historic District, its 22 parklike squares, and the Savannah Victorian Historic District, is one of the largest National Historic Landmark Districts in the United States (designated by the U.S. government in 1966). Downtown Savannah largely retains the original town plan prescribed by founder James Oglethorpe (a design now known as the Oglethorpe Plan). During the 1996 Summer Olympics hosted by Atlanta, Savannah held sailing competitions in the nearby Wassaw Sound." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

Selfie utilizing my new (and cheap) ring light. Not too bad; still need to practice with it more…preferably on someone else.

 

Taken with and edited on my iPhone via Lightroom Mobile

At the turn of the 21st century, Kenosha constructed a modern electric streetcar system utilizing historic PCC streetcars in coordination with the HarborPark development on the shores of Lake Michigan. The line has become a model project studied by urban planners worldwide,[citation needed] and is used by thirty percent of visitors to Kenosha.[citation needed]

 

Installation of the tram track sub-base was completed in the autumn of 1998 and utilized crushed concrete from the foundations of the 1870-era Simmons Bedding Company/American Motors Corporation office and plant buildings east of Fifth Avenue. As the new streets in HarborPark were completed in the fall of 1999, crews installed new 115-pound-per-yard (57 kg/m) continuously welded rail streetcar track over modern concrete ties (except for standard wooden ties under grade crossings). Electric overhead line construction for 600-volt direct current was completed in April 2000 and energized by a modern solid state substation.

 

Kenosha's five historic 'Red Rocket' PCC A15-class streetcars were built in Montreal for the Toronto Transit Commission in 1951 by Canada Car and Foundry under license from the St. Louis Car Company, and were remanufactured and rebodied from the windows down in 1991. Each Kenosha car is painted in a unique livery representing an historic North American transit system that also operated PCC streetcars. The first of Kenosha's streetcars was 4610 'Toronto' (originally 4541), delivered on May 4, 2000. The four other cities and systems thereby represented include Chicago Surface Lines 4606 'Green Hornet', Pittsburgh Railways Company 4609 'Pittsburgh', Johnstown Traction Company 4615 'Johnstown', and Cincinnati Street Railways 4616 'Cincinnati'.

 

The ceremonial dedication of the streetcar line and the new Transit Center was held on June 17, 2000, and the memorial ribbon was broken at 11 a.m. by 4610 'Toronto', piloted by Richard Lindgren who had been a motorman for the original Kenosha Electric Railway (KERy) in 1932.

 

Public rides began immediately after the opening ceremony. Regularly scheduled service started two days later, on Monday morning, June 19, 2000.[1]

 

In addition to its utilitarian purpose, the streetcar system (along with Metra service) has played a major role in the downtown's transit-oriented development (TOD) and immediately became one of Kenosha's top tourist attractions. In December 2005, the City Council voted to study expansion of the current two-mile downtown route (which currently carries over 63,000 passengers yearly) to the city's southwest and through the Uptown business district.

 

Kenosha's HarborPark Plan, which is served by the streetcar line, comprises over four hundred upscale urban housing units and retail, commercial, restaurant and recreational facilities. The streetcar circulator project demonstrates the feasibility of reintroducing zero-emission electric transit into midwest cities and the application of special short-haul transit applications.

 

In 2010, the Kenosha Streetcar Society marked the 10th anniversary of the return of streetcar service to Kenosha with a celebration on June 19, 2010. The society facilitated the creation of celebratory banners, and donated commemorative transfers that were handed out to passengers to mark this significant milestone.[3]

 

Wikipedia

+++ 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 an all-weather fighter with an on-board radar.

 

A trainer variant was deemed to be useful, too, since the transition of young pilots from relatively slow, piston-engine basic trainers to jet-powered aircraft was considered to be a major step in the education program. At that time, the only jet-powered two-seater in Swedish inventory was the DH 115 Vampire. 57 of these, designated J 28C by the Swedish Air Force, had been procured from Great Britain in the late Forties, but an indigenous alternative (and a more capable successor) was politically favored.

 

In 1952 initial wind tunnel tests with scaled-down models were conducted, since it was not clear which layout would be the best from an aerodynamic, structural and educational point of view. After a thorough inspection of wooden 1:1 mock-ups of alternative tandem and a side-by-side cockpit layouts, as well as much political debate between Saab, the Swedish Air Force and the Swedish government concerning the costs and budget for a dedicated Saab 29 trainer fleet’s development and production, a compromise was settled upon in early 1953: No new trainer airframes would be produced. Instead, only existing airframes would be converted into two seaters, in an attempt to keep as much of the existing structure and internal fuel capacity as possible.

 

The side-by-side arrangement was adopted, not only because it was considered to be the more effective layout for a trainer aircraft. It also had the benefit that its integration would only mean a limited redesign of the aircraft’s cockpit section above the air intake duct and the front landing gear well, allowing to retain the single-seater’s pressurized cabin’s length and internal structure. A tandem cockpit would have been aerodynamically more efficient, but it would have either considerably reduced the J 29’s internal fuel capacity, or the whole aircraft had had to be lengthened with a fuselage plug, with uncertain outcome concerning airframe and flight stability. It would also have been the more costly option,

 

However, it would take until 1955 that the first trainer conversions were conducted by Saab, in the wake of the major wing and engine updates for the J 29 A/B fleet that lasted until 1956. The trainer, designated Sk 29 B, was exclusively based on the J 29 B variant and benefited from this version’s extra fuel tanks in the wings and fully wired underwing weapon hardpoints, which included two wet pylons for drop tanks and made the Sk 29 B suitable for weapon training with the J 29’s full ordnance range.

 

The trainer conversions only covered the new cockpit section, though. The Sk 29 B did not receive the new dogtooth wing which was only introduced to the converted J 29 D, E and F fighters. The upper pair of 20mm cannon in the lower front fuselage was deleted, too, in order to compensate for the two-seater’s additional cockpit equipment weight and drag. Performance suffered only marginally under the enlarged canopy, though, and the Sk 29 B turned out to be a very sound and useful design for the advanced jet trainer role.

 

However, budgetary restraints and the quick development of aircraft technology in the Fifties limited the number of fighter conversions to only 22 airframes. The aging Vampire two-seaters still turned out to be adequate for the advanced trainer role, and the Sk 29 B did not offer a significant advantage over the older, British aircraft. Another factor that spoke against more Sk 29 Bs was the simple fact that more trainer conversions would have reduced the number of airframes eligible for the running fighter aircraft updates.

 

All Sk 29 Bs were concentrated at the F 5 Ljungbyhed Kungliga Krigsflygskolan training wing in southern Sweden, where two flights were equipped with it. Unofficially dubbed “Skola Tunnan” (literally “School Barrel”), the Sk 29B performed a solid career, even though the machines were gradually retired from 1966 onwards. A dozen Sk 29 B remained active until 1972 in various supportive roles, including target tugging, air sampling and liaison duties, while the final Vampire trainer was already retired in 1968. But by the early Seventies, the trainer role had been taken over by the brand new Saab 105/Sk 60 trainer, the long-awaited domestic development, and Sk 35 Draken trainers.

  

General characteristics:

Crew: 2

Length: 10.23 m (33 ft 7 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: 5,120 kg (11,277 lb)

Max. takeoff weight: 8,375 kg (18,465 lb)

 

Powerplant:

1× Svenska Flygmotor RM2 turbojet, rated at 5,000 lbf (22.2 kN)

 

Performance:

Maximum speed: 1,010 km/h (627 mph)

Range: 1,060 km (658 mi)

Service ceiling: 15,500 m (50,850 ft)

Rate of climb: 30.5 m/s (6,000 ft/min)

 

Armament:

2x 20mm Hispano Mark V autocannon in the lower front fuselage

Underwing hardpoints for various unguided missiles and iron bombs, or a pair drop tanks

  

The kit and its assembly:

Another Saab 29 conversion of a variant that was thought about but never materialized, much like the radar-equipped all-weather fighter. The impulse to tackle this stunt was a leftover D. H. Vampire trainer fuselage pod in my stash (from the ‘Mystery Jet’ conversion a couple of months ago, from an Airfix kit). The canopy’s shape and dimensions appeared like a sound match for the tubby J 29, and so I decided to try this stunt.

 

The basis is the Heller J 29 kit, which is, despite raised surface details, IMHO the better kit than the rather simple Matchbox offering. However, what makes things more hazardous, though, is the kit’s option to build the S 29 C reconnaissance variant – the lower front fuselage is a separate part, and any surgery around the cockpit weakens the kit’s overall stability considerably. Unlike the J 29D all-weather fighter built recently, I had no visual reference material. The only valid information I was able to dig up was that a side-by-side cockpit had been the preferred layout for this paper project.

 

Implanting a new cockpit is always hazardous, and I have never tried to integrate a side-by-side arrangement into a single seater. The Vampire cockpit was finished first, and also mounted into the Vampire’s original cockpit pod halves, because I was able to use its side walls and also had the original canopy parts left over – and using the Vampire’s cockpit opening would ensure a good fit and limit PSR work around the clear parts. Once the Vampire cockpit tub was complete, the “implant” was trimmed down as far as possible.

 

Next step was to prepare the Tunnan to accept the donor cockpit. In order to avoid structural trouble I finished the two fuselage halves first, mounted the air intake with the duct to the front end, but left the fighter version’s gun tray away (while preparing it with a load of lead). The idea was to put the Vampire cockpit into position from below into the Tunnan’s fuselage, until all outer surfaces would more or less match in order to minimize PSR work.

 

With the Vampire cockpit as benchmark, I carefully tried to draw its outlines onto the upper front fuselage. The following cutting and trimming sessions too several turns. To my surprise, the side-by-side cockpit’s width was the least problem – it fits very well inside of the J 29 fuselage’s confines, even though the front end turned out to be troublesome. Space in length became an issue, too, because the Airfix Vampire cockpit is pretty complete: it comes with all pedals, a front and a rear bulkhead, and its bulged canopy extends pretty far backwards into an aerodynamic fairing. As a result, it’s unfortunately very long… Furthermore, air intake duct reaches deep into the Tunnan’s nose, too, so that width was not the (expected) problem, but rather length!

 

Eventually, the cockpit lost the front bulkhead and had to trimmed and slimmed down further, because, despite its bulky fuselage, the Tunnan’s nose is rather narrow. As a consequence the Vampire cockpit had to be moved back by about 3mm, relative to the single-seater’s canopy, and the area in front of the cockpit/above the air intake duct had to be completely re-sculpted, which took several PSR stages. Since the Vampire’s canopy shape is very different and its windscreen less steep (and actually a flat glass panel), I think this change is not too obvious, tough, and looks like a natural part of the fictional real-life conversion. However, a fiddly operation, and it took some serious effort to blend the new parts into the Tunnan fuselage, especially the windscreen.

 

Once the cockpit was in place, the lower front fuselage with the guns (the upper pair had disappeared in the meantime) was mounted, and the wings followed suit. In this case, I modified the flaps into a lowered position, and, as a subtle detail, the Tunnan kit lost its retrofitted dogtooth wings, so that they resemble the initial, simple wing of the J 29 A and B variants. Thanks to the massive construction of the kit’s wings (they consist of two halves, but these are very thin and almost massive), this was a relatively easy task.

 

The rest of the Tunnan was built mostly OOB; it is a typical Heller kit of the Seventies: simple, with raised surface detail, relatively good fit (despite the need to use putty) and anything you could ask for a J 29 in 1:72 scale. I just replaced the drop tanks with shorter, thicker alternatives – early J 29 frequently carried Vampire drop tanks without fins, and the more stout replacements appeared very suitable for a trainer.

 

The pitots on the wing tips had to be scratched, since they got lost with the wing modifications - but OOB they are relatively thick and short, anyway. Further additions include a tail bumper and extra dorsal and ventral antennae, plus a fairing for a rotating warning light, inspired by a similar installation on the late J 29 target tugs.

  

Painting and markings:

As usual, I wanted a relatively plausible livery and kept things simple. Early J 29 fighters were almost exclusively left in bare metal finish, and the Swedish Vampire trainers were either operated in NMF with orange markings (very similar to the RAF trainers), or they carried the Swedish standard dark green/blue grey livery.

 

I stuck to the Tunnan’s standard NMF livery, but added dark green on wing tips and fin, which were widely added in order to make formation flight and general identification easier. However, some dayglow markings were added on the fuselage and wings, too, so that – together with the tactical markings – a colorful and distinct look was created, yet in line with typical Swedish Air Force markings in the late Fifties/early Sixties.

 

The NMF livery was created with an overall coat of Revell 99 acrylic paint (Aluminum), on top of which various shades of Metallizer were dry-brushed, panel by panel. Around the exhaust, a darker base tone (Revell 91, Iron Metallic and Steel Metallizer) was used. Around the cockpit, in order to simulate the retrofitted parts, some panels received a lighter base with Humbrol 191.

 

The raised panel lines were emphasized through a light black in wash and careful rubbing with grinded graphite on a soft cotton cloth – with the benefit that the graphite adds a further, metallic shine to the surface and destroys the uniform, clean NMF look. On the front fuselage, where many details got lost through the PSR work, panel lines were painted with a thin, soft pencil.

 

The cockpit interior became dark green-grey (Revell 67 comes pretty close to the original color), the landing gear wells medium grey (Revell 57). The dark green markings on fin and wing tips were painted with Humbrol 163 (RAF Dark Green), which comes IMHO close to the Swedish “Mörkgrön”. The orange bands were painted, too, with a base of Humbrol 82 (Orange Lining) on top of which a thin coat of fluorescent orange (Humbrol 209) was later added. Even though the NMF Tunnan did not carry anti-dazzle paint in front of the windscreen, I added a black panel because of the relatively flat area there on the modified kit.

 

Decals come from different sources: roundels and stencils come from the Heller kit’s sheet, the squadron code number from a Flying Colors sheet with Swedish ciphers in various colors and sizes for the late Fifties time frame, while the tactical code on the fin was taken from a Saab 32 sheet.

Finally the kit was sealed with a “¾ matt”, acrylic varnish, mixed from glossy and matt varnishes.

  

An effective and subtle conversion, and a bigger stunt than one might think at first sight. The Tunnan two-seater does, hoewever, not look as disturbing as, for instance, the BAC Lightning or Hawker Hunter trainer variants? The rhinoplasty was massive and took some serious PSR, though, and the livery was also more demanding than it might seem. But: this is what IMHO a real Saab 29 trainer could have looked like, if it had left the drawing boards in the early Fifties. And it even looks good! :D

The John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of American spaceflight, research, and technology. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC. Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.

 

Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.

 

Additionally, the center manages launch of robotic and commercial crew missions and researches food production and in-situ resource utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.

 

There are about 700 facilities and buildings grouped throughout the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex on site that is open to the public.

 

Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.

 

President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.

 

NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.

 

On November 29, 1963, the facility was named by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.

 

Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.

 

From 1967 through 1973, there were 13 Saturn V launches, including the ten remaining Apollo missions after Apollo 7. The first of two uncrewed flights, Apollo 4 (Apollo-Saturn 501) on November 9, 1967, was also the first rocket launch from KSC. The Saturn V's first crewed launch on December 21, 1968, was Apollo 8's lunar orbiting mission. The next two missions tested the Lunar Module: Apollo 9 (Earth orbit) and Apollo 10 (lunar orbit). Apollo 11, launched from Pad A on July 16, 1969, made the first Moon landing on July 20. The Apollo 11 launch included crewmembers Neil Armstrong, Michael Collins, and Buzz Aldrin, and attracted a record-breaking 650 million television viewers. Apollo 12 followed four months later. From 1970 to 1972, the Apollo program concluded at KSC with the launches of missions 13 through 17.

 

On May 14, 1973, the last Saturn V launch put the Skylab space station in orbit from Pad 39A. By this time, the Cape Kennedy pads 34 and 37 used for the Saturn IB were decommissioned, so Pad 39B was modified to accommodate the Saturn IB, and used to launch three crewed missions to Skylab that year, as well as the final Apollo spacecraft for the Apollo–Soyuz Test Project in 1975.

 

As the Space Shuttle was being designed, NASA received proposals for building alternative launch-and-landing sites at locations other than KSC, which demanded study. KSC had important advantages, including its existing facilities; location on the Intracoastal Waterway; and its southern latitude, which gives a velocity advantage to missions launched in easterly near-equatorial orbits. Disadvantages included: its inability to safely launch military missions into polar orbit, since spent boosters would be likely to fall on the Carolinas or Cuba; corrosion from the salt air; and frequent cloudy or stormy weather. Although building a new site at White Sands Missile Range in New Mexico was seriously considered, NASA announced its decision in April 1972 to use KSC for the shuttle. Since the Shuttle could not be landed automatically or by remote control, the launch of Columbia on April 12, 1981 for its first orbital mission STS-1, was NASA's first crewed launch of a vehicle that had not been tested in prior uncrewed launches.

 

In 1976, the VAB's south parking area was the site of Third Century America, a science and technology display commemorating the U.S. Bicentennial. Concurrent with this event, the U.S. flag was painted on the south side of the VAB. During the late 1970s, LC-39 was reconfigured to support the Space Shuttle. Two Orbiter Processing Facilities were built near the VAB as hangars with a third added in the 1980s.

 

KSC's 2.9-mile (4.7 km) Shuttle Landing Facility (SLF) was the orbiters' primary end-of-mission landing site, although the first KSC landing did not take place until the tenth flight, when Challenger completed STS-41-B on February 11, 1984; the primary landing site until then was Edwards Air Force Base in California, subsequently used as a backup landing site. The SLF also provided a return-to-launch-site (RTLS) abort option, which was not utilized. The SLF is among the longest runways in the world.

 

On October 28, 2009, the Ares I-X launch from Pad 39B was the first uncrewed launch from KSC since the Skylab workshop in 1973.

 

Beginning in 1958, NASA and military worked side by side on robotic mission launches (previously referred to as unmanned), cooperating as they broke ground in the field. In the early 1960s, NASA had as many as two robotic mission launches a month. The frequent number of flights allowed for quick evolution of the vehicles, as engineers gathered data, learned from anomalies and implemented upgrades. In 1963, with the intent of KSC ELV work focusing on the ground support equipment and facilities, a separate Atlas/Centaur organization was formed under NASA's Lewis Center (now Glenn Research Center (GRC)), taking that responsibility from the Launch Operations Center (aka KSC).

 

Though almost all robotics missions launched from the Cape Canaveral Space Force Station (CCSFS), KSC "oversaw the final assembly and testing of rockets as they arrived at the Cape." In 1965, KSC's Unmanned Launch Operations directorate became responsible for all NASA uncrewed launch operations, including those at Vandenberg Space Force Base. From the 1950s to 1978, KSC chose the rocket and payload processing facilities for all robotic missions launching in the U.S., overseeing their near launch processing and checkout. In addition to government missions, KSC performed this service for commercial and foreign missions also, though non-U.S. government entities provided reimbursement. NASA also funded Cape Canaveral Space Force Station launch pad maintenance and launch vehicle improvements.

 

All this changed with the Commercial Space Launch Act of 1984, after which NASA only coordinated its own and National Oceanic and Atmospheric Administration (NOAA) ELV launches. Companies were able to "operate their own launch vehicles" and utilize NASA's launch facilities. Payload processing handled by private firms also started to occur outside of KSC. Reagan's 1988 space policy furthered the movement of this work from KSC to commercial companies. That same year, launch complexes on Cape Canaveral Air Force Force Station started transferring from NASA to Air Force Space Command management.

 

In the 1990s, though KSC was not performing the hands-on ELV work, engineers still maintained an understanding of ELVs and had contracts allowing them insight into the vehicles so they could provide knowledgeable oversight. KSC also worked on ELV research and analysis and the contractors were able to utilize KSC personnel as a resource for technical issues. KSC, with the payload and launch vehicle industries, developed advances in automation of the ELV launch and ground operations to enable competitiveness of U.S. rockets against the global market.

 

In 1998, the Launch Services Program (LSP) formed at KSC, pulling together programs (and personnel) that already existed at KSC, GRC, Goddard Space Flight Center, and more to manage the launch of NASA and NOAA robotic missions. Cape Canaveral Space Force Station and VAFB are the primary launch sites for LSP missions, though other sites are occasionally used. LSP payloads such as the Mars Science Laboratory have been processed at KSC before being transferred to a launch pad on Cape Canaveral Space Force Station.

 

On 16 November 2022, at 06:47:44 UTC the Space Launch System (SLS) was launched from Complex 39B as part of the Artemis 1 mission.

 

As the International Space Station modules design began in the early 1990s, KSC began to work with other NASA centers and international partners to prepare for processing before launch onboard the Space Shuttles. KSC utilized its hands-on experience processing the 22 Spacelab missions in the Operations and Checkout Building to gather expectations of ISS processing. These experiences were incorporated into the design of the Space Station Processing Facility (SSPF), which began construction in 1991. The Space Station Directorate formed in 1996. KSC personnel were embedded at station module factories for insight into their processes.

 

From 1997 to 2007, KSC planned and performed on the ground integration tests and checkouts of station modules: three Multi-Element Integration Testing (MEIT) sessions and the Integration Systems Test (IST). Numerous issues were found and corrected that would have been difficult to nearly impossible to do on-orbit.

 

Today KSC continues to process ISS payloads from across the world before launch along with developing its experiments for on orbit. The proposed Lunar Gateway would be manufactured and processed at the Space Station Processing Facility.

 

The following are current programs and initiatives at Kennedy Space Center:

Commercial Crew Program

Exploration Ground Systems Program

NASA is currently designing the next heavy launch vehicle known as the Space Launch System (SLS) for continuation of human spaceflight.

On December 5, 2014, NASA launched the first uncrewed flight test of the Orion Multi-Purpose Crew Vehicle (MPCV), currently under development to facilitate human exploration of the Moon and Mars.

Launch Services Program

Educational Launch of Nanosatellites (ELaNa)

Research and Technology

Artemis program

Lunar Gateway

International Space Station Payloads

Camp KSC: educational camps for schoolchildren in spring and summer, with a focus on space, aviation and robotics.

 

The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.

 

Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery Archived December 6, 2020, at the Wayback Machine or through their more up-to-date Flickr gallery.

 

A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.

 

The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.

 

The Neil Armstrong Operations and Checkout Building (O&C) (previously known as the Manned Spacecraft Operations Building) is a historic site on the U.S. National Register of Historic Places dating back to the 1960s and was used to receive, process, and integrate payloads for the Gemini and Apollo programs, the Skylab program in the 1970s, and for initial segments of the International Space Station through the 1990s. The Apollo and Space Shuttle astronauts would board the astronaut transfer van to launch complex 39 from the O&C building.

The three-story, 457,000-square-foot (42,500 m2) Space Station Processing Facility (SSPF) consists of two enormous processing bays, an airlock, operational control rooms, laboratories, logistics areas and office space for support of non-hazardous Space Station and Shuttle payloads to ISO 14644-1 class 5 standards. Opened in 1994, it is the largest factory building in the KSC industrial area.

The Vertical Processing Facility (VPF) features a 71-by-38-foot (22 by 12 m) door where payloads that are processed in the vertical position are brought in and manipulated with two overhead cranes and a hoist capable of lifting up to 35 short tons (32 t).

The Hypergolic Maintenance and Checkout Area (HMCA) comprises three buildings that are isolated from the rest of the industrial area because of the hazardous materials handled there. Hypergolic-fueled modules that made up the Space Shuttle Orbiter's reaction control system, orbital maneuvering system and auxiliary power units were stored and serviced in the HMCF.

The Multi-Payload Processing Facility is a 19,647 square feet (1,825.3 m2) building used for Orion spacecraft and payload processing.

The Payload Hazardous Servicing Facility (PHSF) contains a 70-by-110-foot (21 by 34 m) service bay, with a 100,000-pound (45,000 kg), 85-foot (26 m) hook height. It also contains a 58-by-80-foot (18 by 24 m) payload airlock. Its temperature is maintained at 70 °F (21 °C).[55]

The Blue Origin rocket manufacturing facility is located immediately south of the KSC visitor complex. Completed in 2019, it serves as the company's factory for the manufacture of New Glenn orbital rockets.

 

Launch Complex 39 (LC-39) was originally built for the Saturn V, the largest and most powerful operational launch vehicle until the Space Launch System, for the Apollo crewed Moon landing program. Since the end of the Apollo program in 1972, LC-39 has been used to launch every NASA human space flight, including Skylab (1973), the Apollo–Soyuz Test Project (1975), and the Space Shuttle program (1981–2011).

 

Since December 1968, all launch operations have been conducted from launch pads A and B at LC-39. Both pads are on the ocean, 3 miles (4.8 km) east of the VAB. From 1969 to 1972, LC-39 was the "Moonport" for all six Apollo crewed Moon landing missions using the Saturn V, and was used from 1981 to 2011 for all Space Shuttle launches.

 

Human missions to the Moon required the large three-stage Saturn V rocket, which was 363 feet (111 meters) tall and 33 feet (10 meters) in diameter. At KSC, Launch Complex 39 was built on Merritt Island to accommodate the new rocket. Construction of the $800 million project began in November 1962. LC-39 pads A and B were completed by October 1965 (planned Pads C, D and E were canceled), the VAB was completed in June 1965, and the infrastructure by late 1966.

 

The complex includes: the Vehicle Assembly Building (VAB), a 130,000,000 cubic feet (3,700,000 m3) hangar capable of holding four Saturn Vs. The VAB was the largest structure in the world by volume when completed in 1965.

a transporter capable of carrying 5,440 tons along a crawlerway to either of two launch pads;

a 446-foot (136 m) mobile service structure, with three Mobile Launcher Platforms, each containing a fixed launch umbilical tower;

the Launch Control Center; and

a news media facility.

 

Launch Complex 48 (LC-48) is a multi-user launch site under construction for small launchers and spacecraft. It will be located between Launch Complex 39A and Space Launch Complex 41, with LC-39A to the north and SLC-41 to the south. LC-48 will be constructed as a "clean pad" to support multiple launch systems with differing propellant needs. While initially only planned to have a single pad, the complex is capable of being expanded to two at a later date.

 

As a part of promoting commercial space industry growth in the area and the overall center as a multi-user spaceport, KSC leases some of its properties. Here are some major examples:

 

Exploration Park to multiple users (partnership with Space Florida)

Shuttle Landing Facility to Space Florida (who contracts use to private companies)

Orbiter Processing Facility (OPF)-3 to Boeing (for CST-100 Starliner)

Launch Complex 39A, Launch Control Center Firing Room 4 and land for SpaceX's Roberts Road facility (Hanger X) to SpaceX

O&C High Bay to Lockheed Martin (for Orion processing)

Land for FPL's Space Coast Next Generation Solar Energy Center to Florida Power and Light (FPL)

Hypergolic Maintenance Facility (HMF) to United Paradyne Corporation (UPC)

 

The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.

 

It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.

 

In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.

 

Historic locations

NASA lists the following Historic Districts at KSC; each district has multiple associated facilities:

 

Launch Complex 39: Pad A Historic District

Launch Complex 39: Pad B Historic District

Shuttle Landing Facility (SLF) Area Historic District

Orbiter Processing Historic District

Solid Rocket Booster (SRB) Disassembly and Refurbishment Complex Historic District

NASA KSC Railroad System Historic District

NASA-owned Cape Canaveral Space Force Station Industrial Area Historic District

There are 24 historic properties outside of these historic districts, including the Space Shuttle Atlantis, Vehicle Assembly Building, Crawlerway, and Operations and Checkout Building.[71] KSC has one National Historic Landmark, 78 National Register of Historic Places (NRHP) listed or eligible sites, and 100 Archaeological Sites.

 

Further information: John F. Kennedy Space Center MPS

Other facilities

The Rotation, Processing and Surge Facility (RPSF) is responsible for the preparation of solid rocket booster segments for transportation to the Vehicle Assembly Building (VAB). The RPSF was built in 1984 to perform SRB operations that had previously been conducted in high bays 2 and 4 of the VAB at the beginning of the Space Shuttle program. It was used until the Space Shuttle's retirement, and will be used in the future by the Space Launch System[75] (SLS) and OmegA rockets.

Utilizing freshly painted 2269, a rebuilt Geep 40 to 38-2 specs, the 1300 Woodland/Cortena job works in a suckerhole.

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.

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