Utilized photos on Flickr

20190920-NRCS-LSC-0424 by U.S. Department of Agriculture

Charlie Roberts, owner of Roberts Farms focuses on utilizing conservation practices developed with the U.S. Department of Agriculture (USDA) Farm Production and Conservation (FPAC) Natural Resources Conservation Service (NRCS) to utilizes cover crops to prevent sheet, rill, and ephemeral gullies; and implementing soil health principals that improve soil health of his land, in Lauderdale County, TN, on Sept 20, 2019.

Cover Crop (Practice Code 340)

Cover crop is growing a crop of grass, small grain, or legumes primarily for seasonal protection and soil improvement. This practice is used to control erosion, add fertility and organic material to the soil, improve soil tilth, increase infiltration and aeration of the soil, and improve overall soil health. The practice is also used to increase populations of bees for pollination purposes. Cover and green manure crops have beneficial effects on water quantity and quality. Cover crops have a filtering effect on movement of sediment, pathogens, and dissolved and sediment-attached pollutants.

Soil Health Principles

Charlie Roberts is utilizing the four basic soil health principles to improve soil health and sustainability on his farm:

1. Use plant diversity to increase diversity in the soil.

2. Manage soils more by disturbing them less.

3. Keep plants growing throughout the year to feed the soil.

4. Keep the soil covered as much as possible.

NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat. As the USDA’s primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science. And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.

Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.

The agencies and services supporting FPAC are Farm Service Agency (FSA), NRCS, and Risk Management Agency (RMA).

For more information please see usda.gov

The companion video can be seen at

youtu.be/NLoEkcbsJLo

USDA Photo by Lance Cheung.

20190920-NRCS-LSC-0205 by U.S. Department of Agriculture

Charlie Roberts, owner of Roberts Farms focuses on utilizing conservation practices developed with the U.S. Department of Agriculture (USDA) Farm Production and Conservation (FPAC) Natural Resources Conservation Service (NRCS) to utilizes cover crops to prevent sheet, rill, and ephemeral gullies; and implementing soil health principals that improve soil health of his land, in Lauderdale County, TN, on Sept 20, 2019.

Cover Crop (Practice Code 340)

Cover crop is growing a crop of grass, small grain, or legumes primarily for seasonal protection and soil improvement. This practice is used to control erosion, add fertility and organic material to the soil, improve soil tilth, increase infiltration and aeration of the soil, and improve overall soil health. The practice is also used to increase populations of bees for pollination purposes. Cover and green manure crops have beneficial effects on water quantity and quality. Cover crops have a filtering effect on movement of sediment, pathogens, and dissolved and sediment-attached pollutants.

Soil Health Principles

Charlie Roberts is utilizing the four basic soil health principles to improve soil health and sustainability on his farm:

1. Use plant diversity to increase diversity in the soil.

2. Manage soils more by disturbing them less.

3. Keep plants growing throughout the year to feed the soil.

4. Keep the soil covered as much as possible.

NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat. As the USDA’s primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science. And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.

Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.

The agencies and services supporting FPAC are Farm Service Agency (FSA), NRCS, and Risk Management Agency (RMA).

For more information please see usda.gov

The companion video can be seen at

youtu.be/NLoEkcbsJLo

USDA Photo by Lance Cheung.

9/25: Coleman Miller: Uso Justo & other shorts by UNIONDOCS

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Best known for his innovative, award-winning 2005 short Uso Justo, Coleman Miller has been making films and videos for over 25 years utilizing a variety of techniques including found footage, collage, and various mash-up experimentation based on whatever tools he’s had at his disposal. We are happy to present this long-overdue overview of Miller’s work.

“It always starts with Play. Especially working with found footage – it’s like being a five year old in a brand new sandbox. Or playing with blocks. You start mixing and matching things… just to see. Then maybe a leaf blows into the sandbox and you incorporate that. Soon you have a foundation and it all flows from there. The hardest part is getting up from the sandbox and saying ‘Done’. But really, any sandbox will do.” – Coleman Miller

“Coleman Miller is destined for admiration and great poverty.” - Isabella Rossellini

Program runtime is approximately 68 minutes – Surprise unannounced works possible

Step Off A Ten-Foot Platform With Your Clothes On, by Coleman Miller

USA, 1990, 7 minutes, 16 mm

While working as a printer in a film lab in San Francisco Miller, was able to use equipment most filmmakers didn’t even know existed. Obtaining special use of a continuous contact printer, which he used every day, was particularly inspiring. By manipulating found footage he was able to create a body of work that turned the medium of film back around on itself. Miller was able to invent many new printing techniques, which he continues to incorporate today. During these years, the film lab became a ten-year festival of experimentation and from it came the most consistent additions to his body of work.

In Step Off A Ten Foot Platform With Your Clothes On, Miller expounds his foray into found and experimental film by compiling which had been, until Uso Justo, his most successful and critically acclaimed work. Produced while Miller was still working for a San Francisco based film printer, once again we see Miller playing with materials directly available to him. During this time time, he was turning film around on itself in a purely visual way – showing the sprocketholes, edge numbers, dirt and frame lines, etc. Again we’ll see the use of contrapuntal sound in order to punctuate dramatic and often playful images. Miller also takes the time to examine what lies in between or, more appropriately, just hidden aspects of film. Long stretches of dirty black or white leader touched with color, usually an annoyance to the traditional viewer, display an entertaining dance of schmutz that is allowed to take the focus. Platform briefly introduces it’s visual styles and slowly allows them to progress into a spirited visual mash-up of his techniques. Ordinary images sifted thru Miller’s mental machine, like the little dog in the film, yanked to unreasonable visual extremes.Platform would go on to win numerous festival awards, be screened at the 1991 Sundance Film Festival, and become culled material for commercial exhibitions such as the 1992 MTV Music Video Awards and the opening title sequences for MTV’s 1991 television show The Big Picture.

Fixated Whereabouts by Coleman Miller

USA, 1983, 5 minutes, 16 mm

Deeply inspired by Bruce Conner’s Take The 5:10 To Dreamland, Miller’s initial dabbling into filmmaking shows natural mastery of his available tools. Shot simply with a super 8 camera, Miller’s exercises began to define the directions of his current work. What, upon first glance, appears to be the tired student project that pervade the novice class of experimental film, a deeper inspection reveals Miller’s creation of a bizarre and surreal world just around the corner from your house. Contrapuntal sound reverses commonly seen images, and simple experimental devices distract the viewer into provocative thought. San Francisco’s skyline watched out a window appeals to a strange unfulfilled longing, so it shouldn’t surprise the reader that the scene is shot from a postcard found in Miller’s hotel, years before he ever took up residence there. Please note the first display of existential angst. Every ordinary event, every car-ride or ballgame take on an otherworldly effect. An escalator, found sound, a mirror… all objects often overlooked, suddenly presented turned on their own ear. Fixated Whereabouts means what it suggests as Miller’s universe stops at a place, records what it sees, interprets the material with a clash of the surreal, and then punctuates with moments of fright and wonder.

Motion Pictures by Coleman Miller

USA, 1996, 4 minutes, 16 mm

In Miller’s most abrupt work- Motion Pictures – he begins pursuit of new layering techniques with found and manipulated materials. Produced at Monaco Lab.

Minneapolis/St. Paul International Film Festival Trailer 1997

The Bony Orbit by Coleman Miller

digital projection, USA 2010, 2 minutes, digital projection

The dry narration of an educational film brings forth surprising results as a couple surrenders to love.

What Gives by Coleman Miller

USA, 1994, 2 minutes, digital projection

The larf of What Gives introduces Miller’s playfulness, foreshadowing a common theme throughout the future of Miller’s work. Surreal, experimental slapstick executed to perfection. Again produced at Monaco Lab, with materials and tools at his disposal.

Kirk, we hardly knew ya by Coleman Miller

USA, 1999, 12 minutes, 16 mm

Produced as an installation piece, ‘Kirk’ is the most basic of Miller’s work, never intended to be screened beyond that environment. But as we watch it today, the subject matter retains relevance. The pressures of business and technology barked out by the enigmatic Shatner, transposed with the inane pursuits of a culture that can’t understand why it should be bombed. Miller’s statement, though simple and cheaply produced, retains its’ humor in the light of such damning circumstance.

Take The L by Coleman Miller

USA, 2006, 3 minutes, digital projection

Using his 8 year-old, consumer level 1-chip digital video camera, Miller dials in the controls to capture a frighteningly sharp commuter train trip. Using a technique available to almost any beginner level FCP user, he transcends the viewer into a widely familiar but deeply disorienting and hypnotic landscape. In watching the center, the viewer can only imagine the thrilling moment when, as a child, they first held a kaleidoscope up to the light. But looking out toward the edges, Take The L will subtly reveal it’s common subject matter and remind the viewer of its’ reality. Once again Miller takes the most mundane of activities and develops it into an explosion of kaleidoscopic visual beauty and playfulness. Miller once again delivers stimulating execution of the most basic technique driven to its’ edges.

Heaven by Coleman Miller

USA, 2007, 3 minutes, digital video

Jon Nelson asked me to add some visuals to one of his audio mix cuts for a show in Minneapolis. I chose the one with Steve Martin talking about heaven. Of the two of those i really believe in Steve Martin.

Uso Justo by Coleman Miller

USA, 2005, 22 minutes, digital projection

Miller’s first narrative creation is like nothing you have seen before. Or since. Uso Justo (roughly translated: “Fair Use”) is restructured completely from an obscure 1959 Mexican film. Miller reaches deep into this black and white melodrama with both hands and turns it inside out. When an experimental filmmaker arrives to shoot his next film in the fictional town of Uso Justo, things start getting strange. The townsfolk are both thrilled and confused by the sudden arrival of this mysterious artist. As the invisible filmmaker pulls the strings, the unfolding story proves to be existential and hilarious, intelligent and stupid.

View Excerpt

”A laff a minute” -Bruce Conner

“Uso Justo is the most hilarious and mesmerizing film I have seen in years.” – Jonathan Caouette (Tarnation)

”Uso Justo is BRILLIANT!!! Fantastic! genius! Wonderful! marvelous! Fuckin’ Brilliant!!!” – Craig Baldwin (Sonic Outlaws, Tribulation 99)

Frank and Paula by Coleman Miller

USA, 2009, 4 minutes, digital projection

The 1950 film noir classic D.O.A. is apparently in the public domain. Somebody hand me my e-scissors.

Hands Motherloade by Coleman Miller

USA, 2002, 4 minutes, digital projection

I put this together when my computer was acting like shit and crashing frequently. Coincidentally this was right after i had gone to my grandfather’s house and picked up a bunch of old metal sections of heating pipes, elbow joints, washer’s, nut’s, bolts, handtools, etc. So when the computer would crash i would go out on the back porch to my buckets of metal and try twisting up some sculpture. And i began to realize how much I liked working with my hands again. It was such a breath of fresh air – much better i thought than staring at a monitor. At the same time i would be watching and rewatching old 16mm educational films and noticing how almost every one of these had a close shot of hands.

The human hand. What a great tool. And taken for granted.

Coleman Miller (Creator/Writer/Director/Producer/Editor) has been making films for over 20 years. His films have won numerous awards on the festival circuit and his film Step Off a Ten Foot Platform With Your Clothes On screened at Sundance in 1991. He received his bachelor’s degree in film production from Southern Illinois University in 1983. He was recently awarded the 2005 IFP-MSP/McKnight Artist Fellowship for Filmmakers, received a Jerome Media Grant in 2001 and a Film Arts Foundation Grant in 1990.

Wien, 1, Bezirk (the art of very historical listed buildings of Vienna), el Burgtheater (Teatro imperial de la corte) - Löwelstraße/Universitätsring/Josef-Meinrad-Platz by alfred lex

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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 .

Wien, 1, Bezirk (the art of very historical buildings of Vienna), Löwelstraße/Josef-Meinrad-Platz/Universitätsring (el Burgtheater - Teatro imperial de la corte) by alfred lex

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 greates 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.