Overview

Passe, present et futur sont destines a etre intrinsequement lies dans le traitement des collections des arts du spectacle. Car leur principale mission est bien de preserver le passe, de deployer des activites au present et de mettre en place des strategies pour le futur. Les defis quotidiens auxquels les collections des arts du spectacle font face se trouvent au coeur de ce croisement; ce sont ces preoccupations que les auteurs, venant de tous horizons, cherchent a exposer et a developper dans ce volume d'actes. Ces themes ont ete abordes lors du Congres de la SIBMAS a Munich en 2010, le premier a avoir ete organise conjointement avec le Congres mondial de la FIRT, renforcant ainsi les relations entre le monde de la recherche theatrale et celui des collections des arts du spectacle. Past, Present, Future - these are permanent connecting points in the work of performing arts collections. It is their crucial commitment to preserve the past, to spread out several activities in the present and to develop strategies for the future. The challenges of performing arts collections are in the middle of these crossroads, which is the theme of the SIBMAS Congress papers presented in this book. The various international contributions are concentrated on the main topics of performing arts collections daily tasks. They were presented and discussed at the SIBMAS Congress in Munich 2010, the first conference in cooperation with the IFTR World Congress, strengthening the relationship between theatre research and performing arts collections.

Full Product Details

Author:   Nicole Leclercq
Publisher:   Peter Lang AG, Internationaler Verlag der Wissenschaften
Imprint:   Peter Lang AG, Internationaler Verlag der Wissenschaften
Edition:   New edition
Weight:   0.560kg
ISBN:  

9782875741448

ISBN 10:   2875741446
Pages:   396
Publication Date:   05 May 2014
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Out of stock  
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Table of Contents

Contenu/Contents: Claire Hudson: Opening Speech/Discours inaugural - Claudia Blank: Introduction - Klaus Weschenfelder: Greeting/Mot de bienvenue - Susan M. Cole: A Modern Baroque Opera House: Building a Historically Informed Performance Space - Vincent Radermecker : Les acteurs des archives - Jane Pritchard: Behind the Scenes at the Museum: A Look at the Challenges of Presenting an Exhibition of Theatrical Material in a National Museum of Art and Design - Richard Stone: Having a Good Hectic Time ... : Project Based Research on the Ballets Russes Tours to Australia and New Zealand - Irina Gamula : L'emigration russe des artistes du ballet et son influence sur l'evolution de la danse dans le monde - Stephen Cleary: Plugging the Gaps: Documentation of Fringe Theatre at the British Library - Petra Honsova : A la recherche d'un chemin perdu. Les archives du theatre Cinoherni klub : 1965-1972 - Mathias Auclair : Aux sources de la creation du departement de la Musique : le rattachement de la bibliotheque de l'Opera a la Bibliotheque nationale - Christiane Muhlegger-Henhapel: Past - Present - Future: the Austrian Theatre Museum and its Collection of Autographs and Bequests - Agata Adamiecka/Dorota Buchwald: Connecting Platform: Theatre Institute in Warsaw - Yulia Katkovskaya: The Theatre Subject at the Art Library: from Collection to Users' Expectation - Agathe Sanjuan : Spectacle vivant et patrimoine : une relation ambivalente. L'exemple de la Comedie-Francaise - Margret Schild: What's Going on Behind the Scene? The Point of View of an Information Specialist - Yoko Ueda: The Meyerhold Exhibition in Tokyo - Hans van Keulen: Changes at the Theatre Instituut Nederland - Dmitry V. Rodionov: The Development of a Theatre Museum as a Criterion of the Stable Development of Society - Thomas Trabitsch: Difficulties of an Institution Collecting the Performing Arts within the So-Called Cultural Scene - Winrich Meiszies: One Moment in Time: How Theatre History Backs Up the Future of the Theatre - Denisa Stastna: Database of Scenography and Photography - Agnieszka Kowalska: A New Idea for a Permanent Exhibition: the History of Theatre in Krakow. From Actors' Domination to the Time of the Auteur Director - Galina Ivanova : Les archives de Michel Fokine a la Bibliotheque theatrale de Saint-Petersbourg - Marie Valtrova/Helena Pinkerova: Theatrical Materials in the Municipal Library of Prague - Ann Kersting-Meuleman: The Scientific Research Portal: Media, Stage, Film - Claudia Blank: Common Panel on Curating - Cecile Obligi : Le depot legal du Web a la bnf : une nouvelle perspective pour la conservation de la memoire du spectacle - Paul S. Ulrich: Web 2.0: How Can sibmas and Its Members Use It, and What Pitfalls Can Be Expected? - Raphaele Fleury : Le Portail des Arts de la Marionnette, moteur d'une nouvelle dynamique de valorisation des archives du spectacle vivant - Sylvie Francois : Faire /uvre de memoire : le milieu du cirque se mobilise - Tatiana Egorova : A. P. Tchekhov et le ballet : mises en scene et interpretations - Matthias J. Pernerstorfer: The Don Juan Archiv Wien: A Private Research Institute for Opera and Theatre History - Jan Van Goethem/Sybille Wallemacq : Les maquettes de decor au theatre : de l'outil de travail a la valorisation d'un patrimoine - Winrich Meiszies: Hamlet. Europe. Transfer (h.e.t.): Topic Outline and Organisational Structure of the Exhibition Project Hamlet - Peter McKinnon: World Scenography Book Project.

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Author Information

Nicole Leclercq est attachee scientifique, assistante aux Archives & Musee de la Litterature et responsable de la section Theatre. Elle est en outre presidente du Centre belge de la SIBMAS, vice-presidente du Comite executif international, secretaire generale du Centre belge de l'IIT et presidente du Comite international de la communication de l'IIT. Responsable de la publication des actes de plusieurs colloques et congres, elle est editrice de la serie Le Monde du theatre. Nicole Leclercq graduated from INSAS (director) in 1971 and is technical adviser and coordinator of the Theater Department at the Archives & Musee de la Litterature in Brussels. She is the Vice-President of SIBMAS, President of the Belgian Center and General Secretary of the Belgian International Theatre Institute Centre (ITI) and has edited and co-edited a number of bibliographies, the biennial edition of The World of Theatre in French and various other proceedings.

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