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Wassily Kandinskys frühe Bühnenkompositionen : über Körperlichkeit und Bewegung /
In his synthetic stage art known as "stage composition" Wassily Kandinsky (1866-1944) revealed his concept of the Gesamtkunstwerk. This formed the foundation of his world view which saw the artist in a missionary role. In the "stage composition" he experimented with possibilities...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Alemán |
| Publicado: |
Berlin ; Boston :
De Gruyter,
©2012.
|
| Colección: | Theatron (Tübingen, Germany) ;
Bd. 58. |
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Kobayashi-Bredenstein, Naoko. | |
| 245 | 1 | 0 | |a Wassily Kandinskys frühe Bühnenkompositionen : |b über Körperlichkeit und Bewegung / |c Naoko Kobayashi-Bredenstein. |
| 260 | |a Berlin ; |a Boston : |b De Gruyter, |c ©2012. | ||
| 300 | |a 1 online resource (ix, 253 pages) : |b illustrations (chiefly color) | ||
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| 490 | 1 | |a Theatron, |x 0934-6252 ; |v Bd. 58 | |
| 504 | |a Includes bibliographical references (pages 211-224). | ||
| 588 | 0 | |a Print version record. | |
| 520 | |a In his synthetic stage art known as "stage composition" Wassily Kandinsky (1866-1944) revealed his concept of the Gesamtkunstwerk. This formed the foundation of his world view which saw the artist in a missionary role. In the "stage composition" he experimented with possibilities of portraying the mental realm on the stage and sought an appropriate language of form and color. This study is the first to present a complete interpretation of the four early stage compositions by means of an interdisciplinary body and movement analysis conducted from the perspectives of theatre studies and iconogra | ||
| 505 | 0 | 0 | |t Frontmatter -- |t Dank -- |t Inhaltsverzeichnis -- |t 1. Einleitung -- |t 2. Körperlichkeit in den frühen Bühnenkompositionen -- |t 3. Bewegung in den frühen Bühnenkompositionen -- |t 4. Analyse der frühen Bühnenkompositionen I bis IV -- |t 4.1. Hinweise zur Interpretationsmethode -- |t 4.2. Bühnenkomposition I Riesen und Vergleich zu Der gelbe Klang -- Eine Bühnenkomposition -- |t 4.3. Bühnenkomposition II Stimmen oder Grüner Klang -- |t 4.5. Bühnenkomposition IV Schwarze Figur -- |t 4.6. Nachspiel (Ohne Musik) -- |t 5. Schluss -- |t 6. Anhang. 6.1. Literaturverzeichnis -- |t 6. Anhang. 6.2. Abbildungen. |
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| 600 | 1 | 0 | |a Kandinsky, Wassily, |d 1866-1944 |x Dramatic works. |
| 600 | 1 | 0 | |a Kandinsky, Wassily, |d 1866-1944. |
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| 650 | 0 | |a Movement, Aesthetics of. | |
| 650 | 6 | |a Esthétique du mouvement. | |
| 650 | 7 | |a DRAMA |x Continental European. |2 bisacsh | |
| 650 | 7 | |a Criticism and interpretation |2 fast | |
| 650 | 7 | |a Movement, Aesthetics of |2 fast | |
| 650 | 7 | |a Drama |2 gnd | |
| 650 | 7 | |a Inszenierung |2 gnd | |
| 776 | 0 | 8 | |i Print version: |a Kobayashi-Bredenstein, Naoko. |t Wassily Kandinskys frühe Bühnenkompositionen. |d Berlin ; Boston : De Gruyter, ©2012 |z 3110263327 |w (OCoLC)767953107 |
| 830 | 0 | |a Theatron (Tübingen, Germany) ; |v Bd. 58. | |
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