The evolution of the close bond between the visual arts and opera starting from the nineteenth century up to the early twenty-first century. The intertwining of visual and musical arts at the beginning of the 20th century led to modernism, abstraction and in music, atonality. This meeting of the arts was never so intense as on the operatic stage. In her book Painting the Stage, curator and art and music critic Denise Wendel-Poray first examines historic productions beginning with Schinkel's iconic stage design for Mozart's Magic Flute, before exploring those of the 20th century with Diaghilev and the Ballets Russes and the implication of avant-garde artists in opera up until World War II. Directly after the armistice of 1945, famous artists such as André Derain, Balthus, Dalí, André Masson, and Kokoschka reopened the theaters amidst ruins, thus ushering in a new era of optimism. The event of pop art, happenings, and experimental theatre with the collaboration of artists Robert Indiana, David Hockney, Robert Wilson brought on further developments in the realm of opera. Finally, interviews with world famous artists such as Anselm Kiefer, William Kentridge, Bill Viola, Robert Longo, Jonathan Meese, and Daniel Richter show how their contribution to the genre is making opera today more than ever a form of "total art" or "Gesamtkunstwerk" and a hotbed of contemporary creation.

"Stage Lighting Design" covers the complete history, theory and - above all - practice of lighting design. It contains 450 black and white half tones, 60 colour photos and innumerable diagrams, lighting plots etc. "Stage Lighting Design" is arranged in four sections: Design: the basic principles, illustrated with reference to specific productions; History: a brief survey of the historical development of stage lighting; Life: interviews with 14 other lighting designers, plus notes on Pilbrow's own career; and Mechanics: a vast section dealing with all the technical data today's designer will need.

This catalogue presents the artwork of three fictitious Russian artists, all inventions of Ilya Kabakov, and intervviews of Ilya Kabakov.

Interest in sensory atmospheres and architectural and urban ambiances has been growing for over 30 years. A key figure in this field is acclaimed German philosopher Gernot Böhme whose influential conception of what atmospheres are and how they function has been only partially available to the English-speaking public. This translation of key essays along with an original introduction charts the development of Gernot Böhme's philosophy of atmospheres and how it can be applied in various contexts such as scenography, commodity aesthetics, advertising, architecture, design, and art. The phenomenological analysis of atmospheres has proved very fruitful and its most important, and successful, application has been within aesthetics. The material background of this success may be seen in the ubiquitous aestheticization of our lifeworld, or from another perspective, of the staging of everything, every event and performance. The theory of atmospheres becoming an aesthetic theory thus reveals the theatrical, not to say manipulative, character of politics, commerce, of the event-society. But, taken as a positive theory of certain phenomena, it offers new perspectives on architecture, design, and art. It made the spatial and the experience of space and places a central subject and hence rehabilitated the ephemeral in the arts. Taking its numerous impacts in many fields together, it initiated a new humanism: the individual as a living person and his or her perspective are taken seriously, and this fosters the ongoing democratization of culture, in particular the possibility for everybody to participate in art and its works.

Now in its Third Edition, Scenic Art for the Theatre: History, Tools and Techniques continues to be the most trusted source for both student and professional scenic artists. With new information on scenic design using Photoshop, Paint Shop Pro and other digital imaging softwares this test expands to offer the developing artist more step-by-step instuction and more practical techniques for work in the field. It goes beyond detailing job functions and discussing techniques to serve as a trouble-shooting guide for the scenic artist, providing practical advice for everyday solutions.

"An Introduction to Technical Theatre draws on the author's experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices. Introduction to Technical Theatre's accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text's modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling" -- From publisher website.