is an indoor piece--although the indoor space needs to be pretty big.
11) Thomas Brightman, Apocalypsis
apocalypseos, Iudocus Hondius & Hendrick Laurenss, Amsterdam (1611), pp.
Der Untergang des Abendlandes can be traced not only in the conversations of the Kridwiss circle, but even in Leverkuhn's oratorio Apocalypsis
cum figuris: 'Leverkuhn wie Spengler erweisen sich nicht als melancholische Betrauerer, sondern als aggressive Betreiber des Untergangs des Abendlandes' (p.
It was in the Apocalypsis
cum figuris that Durer's style as an engraver matured, that he fully capitalised on the knowledge of contemporary developments in art that he had acquired on his Italian travels while also laying the foundation for the development of free pictorial prints.
Bernard and the Cistercians were vilified in th e Apocalypsis
Golie, where the word goliardus appears, and in the Metamorphosis Golye, heavy with allusions to Heloise and Abelard.
Thomas Brightman, Apocalypsis
Apocalypseos, (London, 1585; no publisher, available at the British Museum).
The connection between this note and 'Ecce' is immediately apparent in the opening line of the sermon where the scriptural thema is cited and reference is made to the fact that it is one of the traditional liturgical readings for that day: 'Ecce sedes posita in celo originallier Apocalypsis
iiii et recitative in epistola hodierna' (fo.
Now, sitting in the offices of the Grotowski Institute in Wroclaw--the home of the company that created and performed the trio of works that are at the center of Grotowski's reputation (Akropolis, The Constant Prince and Apocalypsis
cum Figuris)--Flaszen is attempting to set the record straight.
Based on the visions of St John the Divine, Apocalypsis
is not part of Patria, but shares many of the cycle's ideals: the combining of music, theatre, dance, and visual spectacle in a multimedia Gesamtkunstwerk.
1482), the founder of the Franciscan Amadeite congregation and author of the Apocalypsis
My strongest memory of Grotowski is when the Polish Lab Theatre came to New York in 1969 with three productions, The Constant Prince, Acropolis and Apocalypsis
Anna Morisi-Guerra, the authority on the topic, takes us through the necessary initiation: an account of the Apocalypsis
Nova, "the summa of the culture of a time of crisis," with its prophecy in its fourth raptus of the coming of a Pastor Angelicus.
It is clear to me now that the Apocalypsis
in Suburbia of Formicans impacted powerfully on the development of my own teleological tale.