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Kritik durch Spott satirische Praxis und Wirkungsprobleme im westdeutschen Kabarett /Pelzer, Jürgen. January 1981 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 201-240).
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Clientele variations and urban nightclub locations; a case study of VancouverGill, Warren George January 1972 (has links)
This thesis is concerned with the relations between clientele variations, as indexed by appearance and behavior, and nightclub locations in Vancouver, B.C. Nightclubs are marketers of experiential products where the customer is part of the entertainment. The sociological and psychological literature suggest that a person's appearance and behavior at entertainment activities are a reflection of his self image and are components of his life style. Retail location studies indicated that self image and life style are important factors in a customer's selection of stores at which to shop. Thus appearance and behavior of clientele can be assumed to be a differentiating factor between nightclubs. Two working hypotheses were advanced: 1) that in general nightclubs with similar clientele group together in urban space; and 2) in some cases nightclubs will group together to permit something akin to comparative shopping. A rating instrument was developed to unobtrusively measure seven variables (hair, clothing, facial decoration, companionship,
dance, drink, and age) that together describe the appearance and behavior of clientele at nightclubs. The instrument had two subsections, one for male and another for female subjects. The development and testing of the instrument was one of the major tasks of the thesis. Cross tabulations and examination of responses to selected variables indicated that relationships did exist between the categories of the seven variables, for both male and female subjects. It was therefore concluded that there were a number of identifiable client types implicit in the nightclub population.
The nightclubs were classified by a hierarchical grouping technique on the basis of similarity of clientele. Both male and female groups showed a definite segmentation along appearance and behavior lines; the male groups also corresponded closely with the entertainment policies of the nightclubs. Further examination indicated that the nightclub groups were spatially defined into seven subdistricts within the C.B.D. and in terms of a core-frame pattern. Four of the subdistricts were determined to be composed of nightclubs with similar clientele, the remaining three subdistricts contained clubs with different yet not incompatible clientele. At a more aggregated scale of five subdistricts, four were shown to have similarities in clientele. The core-frame pattern revealed that there were two groups of clubs with similar clientele; dance and floor show clubs in the core of the C.B.D., and clubs marketing nude entertainment in the frame. This pattern was confirmed by an analysis of the quality of the nightclub sites. The analysis of nightclub locations confirmed that, as hypothesized, definite spatial patterns could be determined from variations in clientele appearance and behavior.
A comparison of the male and female group structure indicated that the males were more useful in segmenting the market. It was suggested that this situation was
a reflection of the social dominance of the male in choosing
entertainment activities. / Arts, Faculty of / Geography, Department of / Graduate
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Die Anfänge des Kabarets in der Kulturszene um 1900 : eine Studie über den "Chat noir" und seine Vorformen in Paris, Wolzogens "Überbretl" in Berlin und die "Elf Scharfrichter" in MünchenFrischkopf, Rita January 1976 (has links)
No description available.
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Die Anfänge des Kabarets in der Kulturszene um 1900 : eine Studie über den "Chat noir" und seine Vorformen in Paris, Wolzogens "Überbretl" in Berlin und die "Elf Scharfrichter" in MünchenFrischkopf, Rita January 1976 (has links)
No description available.
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Kabaret as moontlike teatervorm vir sangers met 'n klassieke sangorientasieDe Villiers, Jacobi 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the
migration of singers with a classical singing orientation. It researches a form of
music theatre known as entertainment cabaret, which is individual by nature, as it
is not bound by convention.
The study entails a discussion of the nature of cabaret as a diverse form of
theatre. It illustrates the role of the artist and the genre’s music style in
researching structure, to determine differences and similarities in the frameworks
of cabaret and opera, with specific reference to classical singing.
Currently there is an abundance of musical theatre genres, and cabaret is not
differentiated as an individual genre. This leads to problems in the definitive
classifying of cabaret, as well as the bridging of a singer with a classical singing
orientation migrating to cabaret.
The study researches the concept of, and reasons for, this migration in South
Africa. The qualitative research method, which makes use of in-depth interviews
to gain insight, generated a wealth of information about the realities in South
Africa. This method introduces a new method of acquiring information, where the
changes of the last few years had a tremendous impact on the careers of
performing artists in South Africa. For this reason, artists with a classical singing
orientation must have a choice to take action; to generate their own opportunities.
The main findings and the need for multi-talented artists to adapt to the different
styles of genres were analysed in the theoretical section, followed by a
discussion of the respondents’ feedback selected to contribute to this study. The
gap in skills between the cabaret artist and the classical singer is identified to
showcase and define the possibility of cabaret as a form of theatre for classical
singers. New categories are generated in which ideas of how development can
be adapted are laid out. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike
teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit
ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van
musiekteater deurdat dit nie deur konvensies begrens word nie.
Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm,
en illustreer die rol en vaardighede van die kabarettis asook die genre se
musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en
opera, met betrekking tot klassieke sangoriëntasie, te ondersoek.
Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre
onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van
’n klassieke sanger wat na kabaret migreer, uiters problematies.
Die studie stel ondersoek in na die konsep van en redes vir die migrasie van
sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die
kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n
magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie
metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van
veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die
loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars
met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle
eie geleenthede te genereer.
Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende
genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg
deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie
geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke
sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as
teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van
ontwikkeling neergelê word.
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Kabaret as sosiale en politieke kommentaar : 'n ontleding van die aanwending van die komiese, satire en parodieVan Zyl, Annelie 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This study examines cabaret in South Africa, and more particularly the use of a
personation in cabaret. Cabaret employs a variety of comedic forms that combine to
comment on social and political issues. The personation is often a manifestation of
current social and political values, and the cabaretist uses such personation to
deride these values and expose society. Themes such as human nature and life are
foregrounded by means of comedy, parody and satire in order to highlighted
weaknesses and malpractices.
The personation often serves as a shield, affording the cabaretist the freedom of
speech to assume a critical stance; it serves as a mouthpiece for enquiring societal
mores and norms. The cabaretist not only entertains the audience in a comical way,
but also strives to make audiences aware of social and political irregularities.
Comedy, parody and satire are found in various forms of entertainment and
literature, but in the cabaret genre it is purposefully applied to voice socio-political
criticism. The success of cabaret is indebted to each caberetist’s unique style. South
African performers such as Pieter-Dirk Uys, Casper de Vries and Hennie Aucamp
apply these means successfully to entertain their audiences and encourage
reflection.
The cabaret persona, drawing upon comedic devices, is used to present reality as
opposed to the human ideal, while treating the audience to a lighter view of life.
Apart from the fact that cabaret, like comedy, parody and satire, is difficult to define,
these forms often overlap, as they serve the same purpose, namely to entertain and
to comment. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek kabaret in Suid-Afrika en in die besonder die gebruik van ’n
karakter in kabaret as sosiale en politiese kommentator. Kabaret gebruik ’n
verskeidenheid komiese vorme wat saamspan om sosiale en politieke kommentaar
te lewer. Die karakter verteenwoordig dikwels ’n gemeenskap se sosiale en politieke
waardes en die kabarettis gebruik so ’n karakter om hierdie waardes te bespot en
kommentaar op die gemeenskap te lewer. Temas soos die menslike natuur en die
lewe word met behulp van die komiese, parodie en satire in die kalklig geplaas om
swakhede en wanpraktyke te beklemtoon.
Die karakter dien ook dikwels as ’n skild waaragter ’n kabarettis skuil en waarmee hy
sodoende vryheid van spraak verkry met die doel om te kritiseer; dit dien as
spreekbuis vir sosiale waardes en norme. Die kabarettis vermaak nie net ’n gehoor
op komiese wyse nie, maar probeer ook om die gehoor van sosiale en politieke
wantoestande bewus te maak.
Die komiese, parodie en satire kom in verskeie vorme van vermaak en die literatuur
voor, maar in kabaret word dit doelgerig as middel gebruik om sosio-politiese
kommentaar te lewer. Die sukses van kabaret word gemeet aan elke kabarettis se
unieke styl. Suid-Afrikaanse kunstenaars soos Pieter-Dirk Uys, Casper de Vries en
Hennie Aucamp slaag daarin om hierdie middele aan te wend en sodoende hul
gehore te vermaak en tot nadenke te stem.
Die kabaret-karakter word met behulp van komiese vorme aangewend om die
werklikheid teenoor die menslike ideaal op te weeg en aan gehore ’n ligter sy van die
lewe te wys.
Buiten dat kabaret en ook die komiese, parodie en satire moeilik gedefinieer kan
word, oorvleuel hierdie vorme dikwels en word dit vir dieselfde doel gebruik, naamlik
om te vermaak en kommentaar te lewer.
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Die funksie van musiek in die musiekblyspel en die kabaretEsterhuysen, Etienne 03 1900 (has links)
Thesis (MDram)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Empirical studies have shown that music has a determinable effect on human emotions. In
this study, the function of music is analysed in terms of how it functions in the musical and
the cabaret as genres. A broad overview regarding the development of these two genres
shows how music is incorporated in these two genres through the ages. A further analysis
regarding structural elements show how music is used in the musical to develop action and
character, whilst also portraying how music supports the sosio-political onset of the cabaret.
These functions are practically applied to My Fair Lady (1956) as text for the musical and
applied to Die Kortstondige Raklewe van Anastasia W (2010) as text for the cabaret. In these
two texts, chosen songs are analysed in terms of how the music functions in these two genres.
In conclusion, a summary of how music functions in these two Musical Theatre genres is given by referring to the results discussed in this thesis. In the results are found a better
understanding of how music functions in these genres to heighten the aesthetical and
dramatic values of a theatre production. Music also heightens the emotional experience of the
staged production. / AFRIKAANSE OPSOMMING: Empiriese studies het bewys dat musiek 'n daadwerklike effek op die mens se emosies het. In
hierdie studie word ondersoek ingestel na die funksie van musiek in die musiekblyspel en die
kabaret. 'n Breë oorsig van die ontwikkeling van hierdie twee genres toon aan hoe musiek
daarin aangewend word. In 'n verdere bespreking van hierdie twee genres word die vorm en
funksie van musiek in hierdie twee genres ontleed en aangetoon hoe musiek die handeling en
karakterontwikkeling in die musiekblyspel beïnvloed en hoe musiek in die kabaret die sosiopolitiese
aard van die kabaret ondersteun.
Hierdie funksies is toegepas op My Fair Lady (1956) as musiekblyspel en Die Kortstondige
Raklewe van Anastasia W (2010) as kabaret. In hierdie tekste is gekose liedjies ge-analiseer
om aan te toon hoe die musiek ten opsigte van hierdie twee genres funksioneer.
Ten slotte is daar opsommend uitgelig hoe musiek funksioneer in hierdie twee musiekteater
genres met verwysing na die resultate gevind in die bespreking van die tesis. In die resultate
word daar 'n beter begrip gekweek van hoe musiek in hierdie genres toegepas word om die
estetiese en dramatiese ervaring van hierdie genres te verhoog. Musiek verhoog ook die
gehoor se emosionele ervaring van die verhoogaanbieding.
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Le texte et le lieu du spectacle de La Plume au Mur. Stéphane Mallarmé parmi les avant-gardesSchiau Botea, Diana 03 May 2010 (has links) (PDF)
Comme l'a montré récemment Peter Sloterdijk, l'avènement du système médiatique remet profondément en cause le modèle humaniste du livre comme lettre créatrice d'amitié. Les citoyens ne s'identifient plus à des valeurs communes grâce à des lectures canoniques. C'est pourquoi, à la fin du XIXe siècle déjà, les hommes de lettres vont chercher des modalités nouvelles de réduire la distance qui les sépare du public. Cette thèse examine et compare quatre journaux ou revues artistiques différentes - L'Hydropathe, Le Chat Noir, La Plume et Le Mur - dont les créateurs organisent des soirées littéraires publiques ou des spectacles de projection - théâtre d'ombres - dans des lieux qu'ils aménagent dans ce but : des cafés, des petites salles intimes du Quartier Latin, des cabarets à Montmartre. Les étudiants nomades se fixent et à cela va correspondre un investissement progressif aussi bien de l'espace théâtral que de l'espace textuel. On sera pourtant étonné de découvrir des préoccupations similaires, chez un auteur retiré, qui ne prenait pas volontiers la parole en public. Stéphane Mallarmé est un écrivain, comme dit Jacques Rancière, " infiniment attentif à son temps ". On remarquera ainsi que Mallarmé et les avant-gardes étudiées créent des spectacles démocratiques qui s'efforcent de rendre compte des contradictions irréductibles du monde moderne. On imaginera avec un certain plaisir, certes indissociable de l'humour, de la fête et du carnaval, les communautés auxquelles les mises en scène de l'écriture fragmentaire et du support artistique nous invitent visiblement à rêver.
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Kabarett als Werkstatt des Theaters literarische Kleinkunst in Wien vor dem Zweiten Weltkrieg /Reisner, Ingeborg, January 1900 (has links)
Thesis (doctoral)--Universität, Wien, 1961. / Includes bibliographical references (p. 424-438) and index.
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Le vocabulaire du cirque et du music-hall en FranceHotier, Hugues. January 1973 (has links)
Originally presented as the author's thesis, Paris, 1972. / Includes bibliographical references (p. [251]-259) and index.
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