Sigismond Thalberg (8 January 1812 – 27 April 1871) was an Austrian composer and one of the most distinguished virtuoso pianists of the 19th century.

Family
Thalberg was born in Pâquis near Geneva on 8 January 1812. According to his own account, he was the illegitimate son of Moritz, Prince of Dietrichstein and Maria Julia Bydeskuty von Ipp, from a Hungarian family of lower nobility. In 1820, Julia married Baron Alexander Ludwig  (an ennobled Jewish Viennese family). However, according to his birth certificate, he was the son of Joseph Thalberg and Fortunée Stein, both from Frankfurt-am-Main.

Early life
Little is known about Thalberg's childhood and early youth. It is possible that his mother had brought him to Vienna at the age of 10 (the same year in which the 10-year-old Franz Liszt arrived there with his parents). According to Thalberg's own account, he attended the first performance of Beethoven's 9th Symphony on 7 May 1824, in the Kärntnerthortheater.

There is no evidence as to Thalberg's early teachers. Baroness von Wetzlar, his mother, who according to Wurzbach was occupied with his education during his childhood and early youth, was a brilliant amateur pianist. It may be therefore that she gave him his first instruction at the piano.

In spring 1826, Thalberg studied with Ignaz Moscheles in London. Moscheles, according to a letter to Felix Mendelssohn dated 14 August 1836, had the impression that Thalberg had already reached a level at which no further help would be needed in order to become a great artist. Thalberg's first public performance in London was on 17 May 1826. In Vienna, 6 April 1827, he played the first movement of Hummel's Piano Concerto No. 3 in B minor, later playing the Adagio and the Rondo on 6 May 1827. After this, Thalberg performed regularly in Vienna. His repertoire was mainly classical, including concertos by Hummel and Beethoven. He also performed chamber music. In the year 1827, his Op. 1, a fantasy and variations on melodies from Carl Maria von Weber's Euryanthe, was published by Tobias Haslinger.

In 1830, Thalberg met Mendelssohn and Frédéric Chopin in Vienna. Their letters show their opinion that Thalberg's main strength was his astonishing technical skills. Further information can be found in the diary of the 10-year-old Clara Wieck. She had heard Thalberg on 14 May 1830 at a concert which he gave in the theatre of Leipzig. He had played his own Piano Concerto in F minor, Op. 5 and a fantasy that he had also composed. Two days before, Clara had played the first solo of John Field's Piano Concerto No. 2 to Thalberg, and, together with him, the first movement of Hummel's Sonata for Piano 4-Hands, Op. 51. Her diary, edited by her father Friedrich Wieck, notes Thalberg as "very accomplished". His playing was clear and precise, also being very strong and expressive.

In the early 1830s, Thalberg studied counterpoint under Simon Sechter. As a result, passages of canon and fugue can be found in some of Thalberg's fantasies of this time. An example is his Grande fantaisie et variations sur 'Norma, Op. 12, which contains a march-theme and variations (one of them a canon), and a fugue on a lyrical theme. The fantasy was published in 1834 and became very popular; but on publication, it was criticised by some—for example, by Robert Schumann.

Thalberg successfully changed his composing style, reducing the counterpoint. Several works in his new style, among them the 2 Airs russes variés, Op. 17, were even enthusiastically praised by Schumann.

Early virtuoso career

In November 1835, Thalberg arrived in Paris. He performed on 16 November 1835 at a private concert of the Austrian ambassador Count Rudolph Apponyi. On 24 January 1836, he took part in a concert of the "Society of the Paris Conservatoire concerts", playing his Grande fantaisie, Op. 22. Thalberg was praised by many of the most prominent artists, among them Rossini and Meyerbeer.

Chopin didn't share his fellow artists' enthusiasm. After hearing Thalberg play, in Vienna, Chopin wrote:He plays splendidly, but he's not my man. He's younger than I and pleases the ladies—makes potpourris on La Muette—produces his piano and forte with the pedal, not the hand—takes tenths as I do octaves and wears diamond shirt studs.

His début at the Conservatoire concert was in the Revue et gazette musicale of 31 January 1836, enthusiastically reviewed by Hector Berlioz. Le Ménestrel of 13 March 1836 wrote:Moscheles, Kalkbrenner, Chopin, Liszt and Herz are and will always be for me great artists, but Thalberg is the creator of a new art which I do not know how to compare to anything that existed before him . . . Thalberg is not only the premier pianist of the world, he is also an extremely distinguished composer.On 16 April 1836, Thalberg gave his first solo concert in Paris, and the success was again sensational. According to Apponyi's diary, Thalberg made a profit of 10,000 francs, a sum which no virtuoso had gained before from a single concert.

Liszt had heard of Thalberg's successes during the winter 1835–36 in Geneva, in spring 1836 in Lyon, and in Paris. In his letter to Marie d'Agoult of 29 April 1836, he compared himself to the exiled Napoleon. In a review of 8 January 1837, in the Revue et Gazette musicale, Liszt controversially denigrated Thalberg's compositions.

After Thalberg returned to Paris in the beginning of February 1837, a rivalry developed between him and Liszt. On 4 February, Thalberg heard Liszt play in concert for the first time in his life. Thalberg was stupefied. While Liszt then gave over a dozen concerts, Thalberg gave only one concert on 12 March 1837 in the Paris Conservatoire, and a further concert on 2 April 1837. In addition, on 31 March 1837, both Liszt and Thalberg played at a benefit concert to raise money for Italian refugees.

In May 1837, Thalberg gave a concert in London, following which The Athenaeum gave an enthusiastic review. Such enthusiasm followed Thalberg throughout the following years. His Fantasia on Rossini's 'Moses''', Op. 33 became one of the most famous concert pieces of the 19th century, and was still praised by Berlioz in his Mémoires (1870). The fantasy was published at end of March 1839; in May 1839, Clara Schumann studied and was delighted by it. In 1848, the fantasy was played by Liszt's daughter Blandine.

European tours
First steps
After Thalberg's stay in London in May 1837, he made a first, short tour, giving concerts in several towns in Great Britain, but he became ill and soon returned to Vienna. In spring 1838, he gave concerts in Paris again. A note in the Revue et Gazette musicale of 4 March 1838 shows that Thalberg's fame had in the meantime grown. He was now called "the most famous of our composers". Thalberg left Paris on 18 April 1838, travelling to Vienna, the very same day that Liszt gave there a charity concert for the benefit of the victims of a flood in Hungary. Thalberg invited Liszt for dinner, and the two great pianists dined together on the 28th with Prince Moritz Dietrichstein, who told Liszt that he was delighted to have "Castor and Pollux" together in his home. During the evening, Thalberg remarked to Liszt with admirable candour: "In comparison with you, I have never enjoyed more than a succes d'estime in Vienna". They dined again the next day, after Liszt's concert on 29 April 1838. Liszt and Thalberg were both dinner guests of Metternich. During Liszt's stay in Vienna, Thalberg did not perform at all.

In October 1838, Thalberg became acquainted with Schumann. According to Schumann's diary, Thalberg played from memory études by Chopin, Joseph Christoph Kessler, and Ferdinand Hiller. He also played with great skill and inspiration works by Beethoven, Schubert, and Dussek, as well sight-reading Schumann's Kreisleriana, Op. 16. On 27 November 1838, Thalberg took part in a charity concert, playing his new Fantasia on Rossini's 'La Donna del Lago, Op. 40 ("The Lady of the Lake" after Walter Scott). At one of his own "Farewell concerts" on 1 December 1838, he played three of his 12 Etudes, Op. 26; his Op. 33 (Moses); and his Fantasia on Beethoven's 7th Symphony, Op. 39. As a result, in the Neue Zeitschrift für Musik of 8 March 1839, an enthusiastic review by Schumann of the second book (likely Nos. 6–12) of Thalberg's Op. 26 appeared, concluding "He is a God when sitting at the piano."

First extended tour
After Thalberg's "Farewell concert" in Vienna, he began his first extended European tour. On 19 and 21 December 1838, he gave two concerts in Dresden, and he performed twice at the Court. Receiving honours from the King of Saxony, he told him, "Wait until you have heard Liszt!" In Leipzig, he gave a concert on 28 December 1838, attended by Mendelssohn, who, on the following day—in a letter to his sister Fanny—gave an enthusiastic account. Mendelssohn became a friend and admirer of Thalberg.

After a second concert in Leipzig on 30 December 1838, Thalberg travelled to Berlin to give a series of concerts there. Via Danzig, Mitau, and other places, he performed at St. Petersburg, receiving excellent reviews. From St. Petersburg, he went on a steamboat to London where he gave further concerts. He then journeyed to Brussels to meet his violinist friend Charles de Bériot. There, he gave several private performances.

After Brussels, Thalberg arrived in the Rhineland, where he gave a series of concerts with Bériot. He returned to London at the beginning of February 1840, and then travelled from London to Paris together with Baroness Wetzlar, his mother, awaiting the arrival of Liszt.

Interlude
Thalberg had already announced in December 1838—during his stay in Leipzig—that he would take time off at the end of his tour, and did not perform at any concert during his stay in spring 1840 in Paris.

At this time Mendelssohn, after meeting Liszt, compared him to Thalberg in a letter to his mother:Thalberg, with his composure, and within his more restricted sphere, is more nearly perfect as a real virtuoso; and after all this is the standard by which Liszt must also be judged, for his compositions are inferior to his playing, and, in fact, are calculated solely for virtuosi.After the end of the Parisian concert season, Thalberg travelled as tourist in the Rhineland. In the beginning of June 1840, he attended a music festival directed by Louis Spohr in Aachen. He got an invitation from the Russian Tsarina and performed at a court-concert in Bad Ems, but this was his only concert during his stay in the Rhineland. According to a note in the Revue et Gazette musicale of 2 August 1840, Bériot would get married two days later in Elsene (Ixelles). His bride was a young lady Maria Huber, born in Vienna, from Germany. She was an orphan and had been adopted by Prince von Dietrichstein, Thalberg's father. It may therefore be presumed that Thalberg wanted to take part in the wedding celebration. During previous visits to the Rhineland, he wanted only to relax. He also taught Bériot's son, the pianist Charles-Wilfrid de Bériot.

In the Revue et Gazette musicale of 9 May 1841, an essay by Fétis appeared—Études d'exécution transcendente—in which he praised Liszt for a new composing style which had been stimulated by Thalberg's challenge. In letters to Fétis of 17 May 1841, and to Simon Löwy of 20 May 1841, Liszt agreed with this analysis.

1840–1848
Thalberg performed in Brussels in fall 1840. He then travelled to Frankfurt-am-Main, where he stayed until January 1841. It had been announced that Thalberg would give concerts in Paris again in spring 1841, but he changed his plans. In Frankfurt, he only took part in a charity concert on 15 January 1841, playing his fantasies on La Donna del Lago and Les Huguenots. He was busily composing new works; his Grande fantaisie sur la Sérénade et le Menuet de 'Don Juan', Op. 42 and his Fantasia on Rossini's 'Semiramide', Op. 51 date from this time.

In the second half of January 1841, Thalberg travelled from Frankfurt to Weimar, where he performed three times at the Grand Duke's court and also in the Theatre. He then went to Leipzig, where he visited Mendelssohn and Schumann. On 8 February 1841, he gave a solo concert in Leipzig, enthusiastically reviewed by Schumann, playing his Op. 42 (Don Juan); his Andante final de 'Lucia di Lammermoor', Op. 44; his Theme and Etude, Op. 45; and his Grand Caprice on Bellini's 'La Sonnambula', Op. 46.

Clara Schumann (née Wieck) noted in her diary:On Monday Thalberg visited us and played to the delightment beautiful on my piano. An even more accomplished mechanism than his does not exist, and many of his piano effects must ravish the connoisseurs. He does not fail a single note, his passages can be compared to rows of pearls, his octaves are the most beautiful ones I ever heard.Mendelssohn's student Horsley wrote of the meeting of his teacher and Thalberg:We were a trio, and after dinner Mendelssohn asked Thalberg if he had written anything new, whereupon Thalberg sat down to the piano and played his Fantasia from the "Sonnambula" . . . At the close there are several runs of Chromatique Octaves, which at that time had not previously heard, and of which peculiar passages Thalberg was undoubtedly the inventor. Mendelssohn was much struck with the novel effect produced, and greatly admired its ingenuity . . . he told me to be with him the next afternoon at 2 o'clock. When I arrived at his study door I heard him playing to himself, and practising continually this passage which had so struck him the previous day. I waited for at least half an hour listening in wonderment to the facility with which he applied his own thoughts to the cleverness of Thalberg's mechanism, and then went into the room. He laughed and said: 'Listen to this, is it not almost like Thalberg?'After his stay in Leipzig, Thalberg gave concerts in Breslau and Warsaw. He then travelled to Vienna and gave two successful concerts there. In a review in the Leipziger Allgemeine musikalische Zeitung, Thalberg was described as Liszt's only rival.

In winter 1841–1842, Thalberg gave concerts in Italy, while Liszt, from end of December 1841 until beginning of March 1842, gave a series of concerts in Berlin. Thalberg matched Liszt's successes in Berlin. He then returned via Marseilles, Toulon, and Dijon, arriving on 11 April 1842, in Paris. On the next day, he gave his first—and on 21 April, his second—concert. According to an account by Berlioz, Thalberg made a profit of 12,000 francs from his first concert, and one of 13,000 francs from his second. The concerts were reviewed in the Revue et Gazette musicale by Henri Blanchard who—two years before, in his review of Liszt's concert on 20 April 1840—had nominated Thalberg as Cesar, Octavian or Napoleon of the piano. In spring 1842, Blanchard reached for new superlatives even surpassing his former ones. In his review of Thalberg's second concert, he wrote that Thalberg would in 100 years have been canonized—and by all coming pianists, be invoked with—the name of Holy Thalberg. According to the account by Berlioz, at the end of Thalberg's second concert, a golden crown was thrown onto the stage.

In addition to his own concerts, Thalberg took part in a concert of Émile Prudent. He then travelled via Brussels to London. Later, in 1842, Thalberg was decorated with the Cross of the French Legion of Honour. He travelled to Vienna where he stayed until fall 1842. In the second half of November until 12 December 1842, he made a further tour in Great Britain, and in January 1843, he returned to Paris. At the end of March 1843, he performed at a private concert of Pierre Erard (nephew of the piano and harp maker Sébastien Érard), but this was his only concert appearance during that season.=

In March 1843, Heinrich Heine wrote about Thalberg:His performance is so gentlemanly, so entirely without any forced acting the genius, so entirely without that well-known brashness that makes a poor cover for inner insecurity. Healthy women love him. So do sickly women, even though he does not engage their sympathy by epileptic seizures at the piano, even though he does not play at their overstrung, delicate nerves, even though he neither electrifies them nor galvanizes them.In winter 1843–44, Thalberg gave concerts in Italy again. At the end of March 1844, he returned to Paris, where—at the same time—Liszt was also expected. Liszt arrived on April 8 and gave on 16 April a first concert, at which he played his Réminiscences de Norma, S. 394, published shortly before. When composing this fantasy, Liszt had put many Thalbergian effects into it. In his later years, he told August Göllerich, one of his pupils:As I met Thalberg, I said to him: 'Here I have cribbed everything from you.' 'Yes,' he replied, 'there are Thalberg-passages included which are indeed indecent.'Shortly after Liszt's concert on 11 May 1844, Thalberg left Paris. He travelled to London and gave a concert there on 28 May 1844. At a further concert in London, he played a concerto for three pianos by J. S. Bach together with Moscheles and Mendelssohn. He also took part in a concert of Julius Benedict. In August 1844, Thalberg returned to Paris, where he stayed until 1845. During the winter 1844–45, he gave a piano course for selected students at the Paris Conservatoire. On April 2, 1845, he gave a concert in Paris, playing his Fantasia on Rossini's 'Barber of Seville', Op. 63; his Grande fantaisie sur les motifs de 'Don Pasquale', Op. 67; and his Fantasia on Auber's 'La Muette de Portici', Op. 52—as well as his Marche funèbre, Op. 59 and his Barcarolle, Op. 60.

In spring 1848, in Vienna, Liszt met Thalberg once more. On 3 May 1848, Thalberg gave a benefit concert which Liszt attended. According to an account by his pupil , Liszt was sitting on the stage, carefully listening, and loudly applauding. It had been 11 years since he had first heard his rival's playing.

 Concerts in America

On 22 July 1843, Thalberg married Francesca ("Cecchina"), the eldest daughter of Luigi Lablache, first bass at the Théâtre des Italiens in Paris. Thalberg went with his wife to Italy where they stayed for the winter 1843–44.

In 1855, after Thalberg's operas Florinda, Op. 71 and Cristina di Svezia had failed, he realized his ambition to give concerts in America. From July to December 1855, he performed with overwhelming success in Rio de Janeiro and Buenos Aires. He returned to Europe, but—after a stay of several months in Paris—went on the steamboat Africa to North America, where he arrived on 3 October 1856, in New York. After Thalberg's debut there on 10 November 1856, a performance marathon ensued, during which he spent eight months giving concerts five or six days a week. Occasionally, he gave two or even three concerts a day. On Sundays, concerts were generally only allowed if they presented "sacred music", but several times Thalberg performed anyhow, playing pieces like his Op. 33 (Moses), based on a prayer from Rossini's opera, or his Huguenots-fantasy with the chorale "Ein feste Burg ist unser Gott" as main subject. His Andante, Op. 32 and his Op. 59 (Marche funèbre) were also allowed.

Thalberg's first American season ended with a concert on 29 July 1857 in Saratoga Springs. On 15 September 1857, he gave another concert in New York, starting his second season. With very few intermissions, he was busy until his last concert on 12 June 1858, in Peoria. By then, he had visited nearly 80 cities and given more than 320 regular concerts in the United States, and 20 concerts in Canada. In addition, he gave at least 20 free concerts for many thousands of schoolchildren. Thalberg also gave a series of solo matinées in New York and in Boston at which he played own works as well as chamber music. From 1857, the violinist Henri Vieuxtemps toured with Thalberg. They played works by Beethoven and duos composed by Thalberg.
Thalberg's financial success on these tours was immense. He got an average of about $500 per concert and probably made more than $150,000 during his two seasons—the equivalent today of about $3 million. A large part of his appeal on these tours was his unpretentious and unassuming personality; he did not resort to advertising gimmicks or cheap crowd-pleasing tricks—instead, he offered superbly polished renditions of his own compositions, which had already been well known in America. Upon rising from the piano after such performances, he was always the same quiet, respectable, self-possessed, middle-aged gentleman that he was at the dinner table of his hotel. He played works by Beethoven, among them the sonatas Nos. 12 ("Funeral March") and 14 ("Moonlight"), as well as the first movements of the Third and Fifth Piano Concertos. His cadenza to Beethoven's third concerto was admired. He also played works by J. S. Bach, Chopin, Hummel, Mendelssohn, and several other composers. The New-York Musical Review and Gazette of July 24, 1858, wrote:Thalberg . . . quite unexpectedly closed what has been a most brilliant career—completely successful, musically, giving to the talented and genial artist abundance of both fame and money. There is probably not another virtuoso, whether with instrument or voice (Liszt alone excepted), who could have excited a moiety of the enthusiasm, or gathered a fragment of the dollars, which Thalberg has excited and gathered.The unexpected close referred to the announcement in June 1858 in Chicago that Thalberg would make only one of three scheduled appearances before immediately returning to Europe. In fact, Thalberg did not even perform at that concert, but very hastily left instead. His wife, Francesca, had arrived from Europe following reports that Thalberg had an extra-marital liaison. This caused further confusion when the opera singer Zare Thalberg debuted at Covent Garden in 1875. She had been one of his students, but she was misidentified as his daughter.

 Later years
The reason as to why Francesca had left for America and returned, with her husband, to Europe is unknown. The death of Thalberg's father-in-law, Lablache, on 23 January 1858, could be one reason. A further possibility is that there may have been consideration of legitimizing Thalberg to enable him to succeed his natural father, Prince Franz Joseph von Dietrichstein.

There are unsubstantiated reports that, after his return to Europe, Thalberg settled in Posillipo, near Naples, in a villa that had belonged to Lablache. The reality is that he dwelled at Viale Calascione, 5 in the Pizzofalcone section of Naples, not far from the elite Nunziatella Military School. Thalberg's residence at Viale Calascione, 5 is confirmed both by a plaque on the building and by a monument to him in the courtyard.

For the following four years, Thalberg lived there in silence. In spring 1862, he gave concerts in Paris and London once again, and was as successful as ever. After a last tour in Brazil in 1863, he put an end to his career. He considered taking up a position as a piano professor at the conservatory in Naples, but he did not have the prerequisite of having an Italian nationality. One year later, he received an offer from the same conservatory, but he refused. The claim of Italian pianist and music teacher  that Thalberg published instructive editions of J. S. Bach's "Well-Tempered Clavier" and Muzio Clementi's "Gradus ad Parnassum" has been recently disputed by Italian pianist and musicologist . When Thalberg died on 27 April 1871, he left behind a collection of several hundred autographs by famous composers, among them J. S. Bach, Handel, Mozart, Haydn, Beethoven, Schubert, and others; even Liszt. The collection was sold after Thalberg's death. He is buried at Naples' Poggioreale cemetery.

 Composer

In the 1830s and the 1840s, Thalberg's style was a major force in European piano playing. He was greatly in fashion and was imitated by others. In 1852, Wilhelm von Lenz wrote:The piano playing of the present day, to tell the truth, consists only of Thalberg simple, Thalberg amended, and Thalberg exaggerated; scratch what is written for the piano, and you will find Thalberg.Ten years later, on 13 June 1862, a London correspondent of the Revue et gazette musicale wrote:Thalberg was indeed imitated like no other; his manner was parodied, exaggerated, turned upside down, tortured, and it may have happened to all of us to curse more than once this Thalbergian school which brought us this avalanche of notes, these arpeggios up and down, with, or more often than not without the slightest song in the middle. The apostles have altered the word of the master. But when we return to the source, we are reconciled with him and we prostrate ourselves again, as twenty years ago, as in the time of youth and enthusiasm.
In the late 19th century, Thalberg's fame had come to depend on his association with a single piano technique: the "three-hand effect". Carl Friedrich Weitzmann, in his Geschichte des Klavierspiels (1879), wrote:His bravura pieces, fantasies on melodies from Rossini's Mosè and La donna del lago, on motifs from Bellini's Norma and on Russian folk-songs, became extraordinarily popular through his own, brilliant execution; however, they treat their subjects always in one and the same way, [namely] . . . to let the tones of a melody be played in the medium octave of the keyboard now by the thumb of the right, now of the left hand, while the rest of the fingers are executing arpeggios filling the whole range of the keyboard.By the late 19th century, Thalberg was often only characterised as "Old Arpeggio"; his musical innovations were unrecognised or had been forgotten. Others were tempted by the successes of Thalberg's works to inundate the musical world with imitations ad nauseam.

 Discography
 Grand Concerto pour le piano avec Accompagnement de l'Orchestre, f-minor, op. 5. (Francesco Nicolosi, Razumowsky Symphony Orchestra, A. Mogrelia, NAXOS 8.553701)
 12 Etudes op. 26, Fantasie op. 33, Fantasie op. 40 (Stefan Irmer, MDG 2009)
 Fantasies on Operas by Bellini opp. 12, 10, 49, 9 (Nicolosi, NAXOS 8.555498)
 Fantasies on Operas by Verdi, Rossini and Bellini opp. 3, 70, 77, 78, 81, 82 (Nicolosi, MARCO POLO 8.223367)
 Fantasies on Operas by Donizetti opp. 68, 67, 50, 44, 66 (Nicolosi, MARCO POLO 8.223365)
 Fantasies on Operas by Rossini opp. 51, 40, 63, 33 (Nicolosi, NAXOS 8.555501)
 Soirees de Pausilippe opp. 75 (Nicolosi, MARCO POLO 8.223807)
 Lacrimosa, Fantasie on Don Giovanni (Cyprien Katsaris, , SONY SK 52551)
 Apotheose & Fantasies on French Operas (Mark Viner, Piano Classics, PCL10178)
 Opera Fantasies (Viner, Piano Classics, PCL0092)

 Notes and references

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 Vier, Jaques: L'artiste – le clerc: Documents inédits, Paris 1950.
 Vitale, Vincenzo: "Sigismondo Thalberg in Posillipo," in: Nouve rivista musicale italiana 6, 1972, p. 503–511.
 Walker, Alan: Franz Liszt, Volume 1, The Virtuoso Years 1811–1847, Revised Edition, New York 1987.
 Wieck, Clara: Jugendtagebücher 1827–1840'', ed. Gerd Nauhaus and Nancy B. Reich, Wiesbaden etc. Breitkopf & Härtel.

External links

 Sigismund Thalberg International Study Centre
 Biography

 www.kreusch-sheet-music.net — Free Scores by Sigismond Thalberg

 First part of a recording of Thalberg's marche funebre
 Second part of a recording of Thalberg's marche funebre

1812 births
1871 deaths
19th-century Austrian people
19th-century classical composers
19th-century classical pianists
19th-century male musicians
Austrian classical pianists
Austrian male classical composers
Austrian opera composers
Austrian people of Hungarian descent
Austrian Romantic composers
Chamber virtuosi of the Emperor of Austria
Composers for piano
Honorary Members of the Royal Philharmonic Society
Male classical pianists
Male opera composers
Musicians from Geneva
Pupils of Carl Czerny

Sigismond Thalberg


Scale Force ist ein Wasserfall im Lake District, Cumbria, England. Der Wasserfall liegt im Lauf des Scale Beck an der Nordflanke einer von Starling Dodd und Red Pike gebildeten Bergkette oberhalb von Crummock Water. Scale Force gilt mit einer Gesamthöhe von 51,80 m als der höchste Wasserfall im Lake District. Das Wasser des Scale Beck fließt jedoch über mehrere Stufen, deren größte 36,60 m hoch ist und mit einer Gesamtfallhöhe von 100 m ist der Moss Force Wasserfall doppelt so hoch wie der Scale Force Wasserfall.

Der Lake Poet Samuel Taylor Coleridge beschrieb Scale Force in Briefen an Sara Hutchinson im August 1802 und hob dabei hervor, dass die Bäume, die den Wasserfall, den er als "proper Waterfall" beschrieb, umgeben, dessen Eindruck nicht mindern, sondern im Gegenteil verstärken, da dieser, so wie die Augen eines verrückten Mannes unter dessen Haaren hervorschimmere.

Der Wasserfall lässt sich vom Ort Buttermere aus erreichen.

Einzelnachweise

Weblinks

Wasserfall in Europa
WScale Force
Wasserfall in England
Gewässer in Cumberland (Unitary Authority)

Scale Force


Tyge Pedersen (født 1944, død 25. december 2015) var en dansk journalist, der var tv-vært og udenrigskorrespondent hos Danmarks Radio fra 1977 til 2010. Før sin ansættelse hos DR havde han været ansat hos Dagbladet Information siden 1967. I sin tid hos Danmarks Radio rapporterede han i løbet af 1980'erne fra både den østlige side af jerntæppet og fra den vestlige side. Blandt andet fra Vesttysklands hovedstad, Bonn. Senere var han EU-korrespondent i Bruxelles i perioden 1992-1997, hvorefter han de kommende otte år var redaktør og vært på DR2-programmet Udefra, der blev nedlagt i 2006. Han har derudover arbejdet med Radioavisen og Orientering.

Det var Tyge Pedersen, der i sin tid opfandt ordet systemkritiker, fordi han ikke brød sig om ordet dissident. Ordet systemkritiker blev optaget i Retskrivningsordbogen i 1971.

Referencer

Journalister fra Danmark
Tv-værter fra Danmark
Ansatte i DR
Journalister ved Dagbladet Information

Tyge Pedersen


Leith (skotsk gælisk Lite) er en tidligere burgh (kongeligt privilegeret købstad) i Skotland og i dag et distrikt i den nordlige del af kommunen City of Edinburgh med 90,000 indbyggere. Leith ligger ved mundingen af floden Water of Leith på Firth of Forths søndre bred og fungerer som Edinburghs havneby.

Byen har en særegen karakter, og det var stor modstand, da den i 1920 blev indlemmet i City of Edinburgh, fordi den dermed blev knyttet nærmere til storbyen. Den er fortsat en selvstændig by, men administreres sammen med Edinburgh.

Kendte personer med tilknytning til Leith

Eksterne henvisninger

Byer i Skotland

Leith


Franz Hamburger (* 14. August 1874 in Pitten, Österreich-Ungarn; † 29. August 1954 in Vöcklabruck) war ein österreichischer Mediziner und Hochschullehrer.

Leben
Hamburger war der Sohn des Papierfabrikanten Wilhelm Hamburger. Er besuchte das Gymnasium in Wiener Neustadt und legte 1892 die Matura ab. Danach absolvierte er ein Medizinstudium in Heidelberg, München und Graz. In Heidelberg wurde er 1892 Mitglied des Corps Rhenania. Er bestand 1898 das medizinische Staatsexamen und wurde im selben Jahr zum Dr. med.  promoviert. Danach war er zeitweilig als Schiffsarzt tätig und anschließend als Assistenzarzt in Wien und Graz. Seine Fachausbildung als Kinderarzt absolvierte er ab 1900 bei Theodor Escherich. 1906 habilitierte er sich mit einer Arbeit über arteigenes und artfremdes Eiweiß und wurde Privatdozent. Ab 1908 war er Vorstand der Kinderabteilung der Wiener Poliklinik und wurde 1912 zum außerordentlichen Professor ernannt.

Als österreichischer Stabsarzt nahm Hamburger 1914 bis 1917 in Serbien und Italien am Ersten Weltkrieg teil. 1916 wurde er ordentlicher Professor für Kinderheilkunde an der Universität Graz, wo er zudem die Universitätskinderklinik leitete. Nach dem Tod von Clemens von Pirquet erhielt er 1930 einen Ruf an die Universität Wien, wo er zugleich Vorstand der Universitätskinderklinik war.

Ab 1931 gehörte er dem Steirischen Heimatschutz an und trat später der NSDAP und dem NS-Ärztebund bei. Nach dem Anschluss Österreichs an das nationalsozialistische Deutsche Reich wurde er Präsident des Wissenschaftlichen Senats der Akademie für ärztliche Fortbildung in Wien. Er gehörte zu den Mitherausgebern der Münchner Medizinische Wochenschrift. Im Sinne der NS-Gesundheitspolitik forderte er die Sterilisierung von "schwachsinnigen" und diabetischen Kindern. Unter ihm kam es zu einer Zusammenarbeit mit der Heil- und Pflegeanstalt "Am Steinhof". Durch Adolf Hitler wurde ihm 1944 die Goethe-Medaille für Kunst und Wissenschaft verliehen. 1944 wurde er emeritiert, übernahm aber noch die Leitung der Kinderabteilung im Krankenhaus in Vöcklabruck.

Nach dem Ende des Zweiten Weltkrieges wurde er am 2. Juni 1945 von seinen Funktionen entbunden und trat 1947 in den Ruhestand.

Hamburger war Autor zahlreicher fachspezifischer Artikel und Bücher. Er forschte zu allen Bereichen der Kinderheilkunde. Herausragend war seine Beteiligung an der Einführung der BCG- und subkutanen Pockenschutzimpfung sowie auf dem Gebiet der Kinder-Tuberkulose und Diphtherie.

Hamburgers 1951 erschienener Ratgeber "Über den Umgang mit Kindern" wurde als Beispiel für Befürwortung physischer und psychischer Gewalt in der Kindererziehung nach 1945 angeführt.

Veröffentlichungen (Auswahl)
 Lehrbuch der Kinderheilkunde. 1920.
 Über den Umgang mit Kindern. 1951.

Literatur
 R. Castell, J. Nedoschill, M. Rupps, D. Bussiek: Geschichte der Kinder- und Jugendpsychiatrie in Deutschland in den Jahren 1937 bis 1961. Vandenhoeck & Ruprecht, Göttingen 2003, ISBN 3-525-46174-7, S. 514 (Kurzbiografie), S. 279ff.
 Verzeichnis der am 1. November 1937 lebenden Heidelberger Rhenanen. o. O. [1937], S. 37f.

 Karl Heinz Tragl: Chronik der Wiener Krankenanstalten. Wien/ Köln/ Weimar 2007, S. 307.

Einzelnachweise

Mediziner (20. Jahrhundert)
Pädiater
Hochschullehrer (Universität Graz)
Hochschullehrer (Universität Wien)
NSDAP-Mitglied
NSDÄB-Mitglied
Corpsstudent (19. Jahrhundert)
Mitglied des Deutschen Klubs (Verein)
Person (Cisleithanien)
Österreicher
Geboren 1874
Gestorben 1954
Mann

Franz Hamburger (Mediziner)


Fylkisstjórakosningar í Bandaríkjunum fóru fram þann 5. nóvember árið 2019.

Kentucky

Frambjóðendur
 Sigurvegari: Andy Beshear (D), fylkisdómsmálaráðherra
 Matt Bevin (R), sitjandi fylkisstjóri

Louisiana
Kosningarnar fóru fram þann 16. október 2019. Aukakosningar milli John Bel Edwards og Eddie Rispone fóru fram þann 16. nóvember 2019.

Frambjóðendur
 Sigurvegari: John Bel Edwards (D), sitjandi fylkisstjóri
 Eddie Rispone (R), kaupsýslumaður
 Ralph Abraham, fulltrúadeildarþingmaður

Mississippi
Phil Bryant sitjandi fylkisstjóri (R) gat ekki boðið sig fram til endurkjörs vegna kjörtímamarka.

Frambjóðendur
 Sigurvegari: Tate Reeves (R), varafylkisstjóri
 Jim Hood (D), fylkisdómsmálaráðherra

Kosningar í Bandaríkjunum 2019
2019

Fylkisstjórakosningar í Bandaríkjunum 2019


'"Liga Nogometnog saveza općine Županja", također i kao "Liga NSO Županja", "Općinska nogometna liga Županja" za sezonu 1977./78. je bila liga petog stupnja nogometnog prvenstva Jugoslavije.
Sudjelovalo je 10 klubova, a prvak je bio "Jadran" iz Gunje.

Ljestvica

Rezultatska križaljka

 Izvori:

Unutarnje poveznice
 Slavonska zona – Posavska skupina 1977./78.

Vanjske poveznice

Izvori

 Vinko Juzbašić: Bošnjački zeleni : monografija NK "Zrinski", Cerna, 2002.,
 Željko Batarilo: Ne daj prodora - Crtice za monografiju nogometnog kluba Slavonac Gradište , Beč, 2007., str. 71-78
 Mato Dominković: Samo jako, samo sloga : monografija nogometnog kluba "Sloga" Štitar, Štitar, 2015., , str. 63-64

1977-78
Županja
1977-78 Županja

Liga NSO Županja 1977./78.


Birgit Beisheim (* 1. Mai 1962 in Hamm) ist eine deutsche Politikerin (Bündnis 90/Die Grünen). Sie wurde in der Landtagswahl in Nordrhein-Westfalen 2012 als Abgeordnete in den 16. Landtag von Nordrhein-Westfalen gewählt und gehörte diesem bis zur Konstitution des 17 Landtag am 31. Mai 2017 an. Seit 2020 ist sie Mitglied im erstmals direkt gewählten Ruhrparlament.

Beisheim kandidierte im Landtagswahlkreis Duisburg I, wo sie 9,0 % der Erststimmen erhielt. Den Wahlkreis gewann Sarah Philipp (SPD). Ihr Landtagsmandat gewann Beisheim über den Platz 29 – den letzten Platz der Liste, der noch ein Mandat erhielt – der Landesliste der Grünen.

Die promovierte Chemikerin leitet als Unternehmerin ein Dienstleistungsunternehmen, AMCO united, das aus den M.I.M.-Hüttenwerken in Duisburg ausgegliedert worden war. Beisheim sitzt im Sportausschuss der Stadt Duisburg und war bis 2012 zweite stellvertretende Bezirksbürgermeisterin in der Bezirksvertretung Duisburg-Süd.

Für die erste Direktwahl des Ruhrparlaments war sie 2020 zusammen mit Patrick Voss (Listenplatz 2) Spitzenkandidatin. Seit 2020 ist sie zusammen mit Voss, Vorsitzende der Grünen-Fraktion im Ruhrparlament. Bis 2020 war sie Vorsitzende der Grünen Duisburg.

Beisheim ist verheiratet und hat einen Sohn. Sie engagiert sich ehrenamtlich im Philharmonischen Chor Duisburg sowie im Verein Gegen Vergessen – Für Demokratie.

Weblinks

 birgit-beisheim.de

 Birgit Beisheim im Ratsinformationssystem der Stadt Duisburg
 Birgit Beisheim bei chefin-online.de

Einzelnachweise

Chemiker (20. Jahrhundert)
Chemiker (21. Jahrhundert)
Landtagsabgeordneter (Nordrhein-Westfalen)
Bündnis-90/Die-Grünen-Mitglied
Politiker (Duisburg)
Politiker (21. Jahrhundert)
Unternehmer (Duisburg)
Deutscher
Geboren 1962
Frau

Birgit Beisheim


Aclistochara, rod fosilnih vrsta parožina u porodici Characeae. Pripada mu 54 vrste

Vrste

 Aclistochara arguta (R.E.Peck) M.D.Georgescu & W.K.Braun
 Aclistochara bransonii R.E.Peck
 Aclistochara brevis S.Wang ex X.G.Zhou
 Aclistochara brotzenii Horn
 Aclistochara clivulata Peck & Reker
 Aclistochara complanata Peck
 Aclistochara coronata Peck & Reker
 Aclistochara cylindrica R.E.Peck
 Aclistochara datongheensis Z.X.Wei
 Aclistochara elliptica (Fritzsche) Doweld
 Aclistochara faceta Z.X.Wei
 Aclistochara firma Z.X.Wei
 Aclistochara fortis Z.X.Wei
 Aclistochara grovesii Rásky
 Aclistochara gulistanica (Kyansep-Romashkina) Feist-Castel & N.Grambast
 Aclistochara helicteres (Brongniart) Grambast & Grambast
 Aclistochara hildesiensis Mädler
 Aclistochara hongguensis Z.X.Wei
 Aclistochara indica S.B.Bhatia & Mannikeri
 Aclistochara jaisalmerensis (S.B.Bhatia & Mannikeri) Molinari & Guiry
 Aclistochara jimusaerensis J.Liu & X.Wu
 Aclistochara jonesii Peck
 Aclistochara kraeuselii Rásky
 Aclistochara latisulcata R.E.Peck
 Aclistochara lianmuxinensis J.Liu & X.Wu
 Aclistochara longiconica Y.C.Hao
 Aclistochara longiformis S.Wang ex G.D.Yang
 Aclistochara maedleri Rásky
 Aclistochara mitella Peck & Reker
 Aclistochara noszkyi Rásky
 Aclistochara nuguishanensis Molinari & Guiry
 Aclistochara obovata Peck
 Aclistochara peckii Rásky
 Aclistochara platyglobata Y.C.Hao
 Aclistochara poculiformis G.D.Yang
 Aclistochara praemaedleri S.B.Bhatia & Mannikeri
 Aclistochara shanchengensis Z.X.Wei
 Aclistochara shiwanensis X.G.Zhou
 Aclistochara staubii Rásky
 Aclistochara stellerides Z.X.Wei
 Aclistochara subquadrularia Z.X.Wei
 Aclistochara tasnadii Rásky
 Aclistochara thoerenensis Mädler
 Aclistochara triassica Saidakovsky
 Aclistochara truncata G.D.Yang
 Aclistochara umbonata Z.X.Wei
 Aclistochara urniformis Z.X.Wei
 Aclistochara usitata Z.X.Wei
 Aclistochara vadaszii Rásky
 Aclistochara wangii G.D.Yang
 Aclistochara wrightii Grambast & Grambast
 Aclistochara xiangtangensis Z.X.Wei
 Aclistochara yongpingensis Molinari & Guiry
 Aclistochara zongyangensis Zhen Wang

Izvori

Charophyceae

Aclistochara


Gerald Vincent "Jerry" Casale (né Pizzute; nascido em 28 de julho de 1948) é um músico americano. Ele ganhou destaque no final dos anos 1970 como co-fundador, co-vocalista e baixista da banda new wave Devo, que lançou um hit top 20 em 1980 com o single "Whip It". Casale é o principal letrista e um dos principais compositores da música de Devo e dirigiu a maioria dos videoclipes de Devo. Ele é um dos dois únicos membros (junto com o vocalista e tecladista Mark Mothersbaugh) que estiveram com o Devo ao longo de toda a sua história. O irmão de Casale, Bob, também se apresentou com a banda.

Casale seguiu carreira solo em 2005 enquanto ainda era membro do Devo com o projeto Jihad Jerry & the Evildoers. O projeto recebeu pouca promoção além de um videoclipe para o single "Army Girls Gone Wild". Jihad Jerry se apresentou em vários shows perto do final da turnê do Devo em 2006, apresentando a música "Beautiful World". Ele também se apresentou ocasionalmente com outras bandas.

Casale também dirigiu videoclipes para outros artistas, incluindo The Cars ("Touch and Go"), Rush ("Mystic Rhythms"), A Perfect Circle ("Imagine"), Foo Fighters ("I'll Stick Around"), Soundgarden ("Blow Up the Outside World") e Silverchair ("Freak" e "Cemetery"), entre outros.

Biografia
Gerald Vincent Pizzute nasceu em 28 de julho de 1948, em Ravenna, Ohio. Ele nasceu com o sobrenome Pizzute porque seu pai, Bob, mudou legalmente seu nome (seu nome de nascimento era Robert Edward Casale) para o de seus pais adotivos. Quatro anos após o nascimento de Gerald, seu pai mudou seu nome de volta para seu nome de nascimento. Gerald Casale cresceu em Kent, Ohio e se formou na Theodore Roosevelt High School em 1966.

Carreira

The Numbers Band e Devo
Antes de Devo, Casale tocava baixo na Numbers Band. Ele causou atrito na banda ao sugerir que eles deveriam incorporar jingles publicitários e outros elementos de "baixa cultura" em suas músicas. Depois de deixar a Numbers Band e se formar, Casale frequentou a Kent State University, com especialização em arte (com foco em artes plásticas / cênicas e estudos relacionados à moda). No final dos anos 1960, ele se autodenominava um hippie até o tiroteio de 4 de maio de 1970. Por estar envolvido com a orientação de calouros no KSU Honors College, ele conhecia pessoalmente duas das vítimas, Jeffrey Miller e Allison Krause, e estava perto de Krause quando ela foi baleada. Casale descreveu aquele dia em várias entrevistas como sendo "o dia em que deixei de ser hippie". Juntamente com Bob Lewis, Casale usou o tiroteio como um catalisador para desenvolver o conceito de De-evolução, formando a banda Devo em 1973. Casale era o membro mais velho da banda.

Inicialmente apresentando Casale (baixo), Mark Mothersbaugh (vocal) e os irmãos de Mark, Bob (guitarra) e Jim (bateria eletrônica), a banda acabou se consolidando em torno da formação de Casale, seu irmão Bob (segundo guitarrista), Mark e Bob Mothersbaugh e o baterista Alan Myers. Em 14 de outubro de 1978, Devo apareceu no programa de variedades americano Saturday Night Live para promover seu álbum de estreia, Q: Are We Not Men? R: We Are Devo! (1978), o que aumentou significativamente sua exposição. Depois que seu segundo álbum, Duty Now for the Future (1979), foi menos bem recebido, seu terceiro álbum, Freedom of Choice (1980), produziu o single  "Whip It", que alcançou a 14ª posição na parada Billboard Hot 100. O álbum alcançou a 22ª posição na Billboard 200, e seu sucessor, New Traditionalists (1981), teve quase o mesmo sucesso, chegando à 23ª posição.

Oh, No! It's Devo (1982) viu a banda se movendo mais em direção ao mainstream e exibiu um uso crescente de sintetizadores e percussão eletrônica, mas foi menos bem recebido do que seus dois predecessores. O sexto álbum de estúdio da banda, Shout (1984), continuou nessa linha e foi mal recebido, o que levou a Warner Bros. a comprar o restante do contrato de Devo. Myers deixou a banda logo depois.

Em 1987, Devo voltou com o novo baterista David Kendrick, ex-Sparks, para substituir Myers. Seu primeiro projeto foi uma trilha sonora para o filme de terror Slaughterhouse Rock (1988), estrelado por Toni Basil, após o qual lançaram os álbuns Total Devo (1988) e Smooth Noodle Maps (1990), pela Enigma.

Em 1990, os membros do Devo, bar Bob Mothersbaugh, apareceram no filme The Spirit of '76 (1990). Devo mais tarde teve um desentendimento e fez dois shows em 1991 antes de se separar. Após a separação, Casale começou uma carreira como diretor de videoclipes e comerciais, trabalhando com bandas como Rush, Soundgarden, Silverchair e Foo Fighters.

Em 2005, Devo gravou uma nova versão de "Whip It" para ser usada em comerciais de televisão Swiffer, uma decisão da qual eles disseram se arrepender. Durante uma entrevista com o Dallas Observer, Casale disse: "É apenas esteticamente ofensivo. Tem tudo o que um comercial que desanima as pessoas tem."

Em 2006, Devo trabalhou em um projeto com a Disney conhecido como Devo 2.0. Uma banda de artistas infantis foi montada e regravou as canções do Devo. Uma citação do Akron Beacon Journal afirmou: "Devo terminou recentemente um novo projeto em conluio com a Disney chamado Devo 2.0, que apresenta a banda tocando músicas antigas e duas novas com vocais fornecidos por crianças. Seu álbum de estreia, um combo de CD/DVD de dois discos intitulado DEV2.0, foi lançado em 14 de março de 2006. As letras de algumas das canções foram alteradas para uma reprodução familiar, o que a banda afirmou ser uma brincadeira com a ironia das mensagens de seus sucessos clássicos."

Em uma entrevista em abril de 2007, Gerald Casale mencionou um projeto provisório para um filme biográfico sobre os primeiros dias de Devo. Segundo Casale, um roteiro supostamente estava em desenvolvimento, chamado The Beginning Was the End. Casale afirmou que pode haver algum novo material do Devo chegando também, mas não está claro se está relacionado ao lançamento de um filme. Devo fez sua primeira turnê europeia desde 1990 no verão de 2007, incluindo uma apresentação no Festival Internacional de Benicàssim.

Em dezembro de 2007, Devo lançou seu primeiro novo single desde 1990, "Watch Us Work It", que apareceu em um comercial da Dell. A música apresenta uma amostra de bateria da música "The Super Thing" dos New Traditionalists . A banda anunciou em um boletim do MySpace de 23 de julho de 2007 que um videoclipe completo para a música seria lançado e a música em si estava disponível no iTunes e eMusic. Casale disse que a música foi escolhida de um lote em que a banda estava trabalhando e que foi o mais próximo que a banda esteve de um novo álbum.

Em um artigo de 5 de dezembro de 2007 no Mutato Muzika, o LA Weekly relatou que "Depois de fazer turnês esporadicamente na última década, mas sem lançar nenhum material novo, Devo está passando dezembro no Mutato tentando criar um álbum com material novo e contemplando um método de dispersão no mundo pós-gravadora." Em uma entrevista em abril de 2008, Mothersbaugh revelou o título de uma música do álbum em andamento: "Don't Shoot, I'm a Man". Em uma entrevista de rádio em 17 de abril de 2008, Casale afirmou que Mothersbaugh havia "matado o projeto" e que não haveria um novo álbum do Devo. Casale, no entanto, afirmou posteriormente que "Vamos terminar o que começamos".

O álbum, Something for Everybody, foi finalmente lançado em 15 de junho de 2010, precedido por um single em vinil de 12 polegadas de "Fresh"/"What We Do" em 10 de junho.

Devo foi premiado com o primeiro Moog Innovator Award em 29 de outubro de 2010, durante o Moogfest 2010 em Asheville, Carolina do Norte. Diz-se que o Moog Innovator Award celebra "artistas pioneiros cujo trabalho que desafia o gênero exemplifica o espírito ousado e inovador de Bob Moog". Devo estava programado para se apresentar no Moogfest, mas Bob Mothersbaugh machucou gravemente a mão três dias antes, e a banda foi forçada a cancelar. Mark Mothersbaugh e Gerald Casale colaboraram com Austin, Texas, banda The Octopus Project para apresentar "Girl U Want" e "Beautiful World" no evento.

Em entrevista em 3 de março de 2011, Casale afirmou que estava "trabalhando em um roteiro para um. . . Devo musical" que seria voltado para uma produção ao vivo da Broadway.

Em agosto de 2012, a banda lançou um single chamado "Don't Roof Rack Me, Bro (Seamus Unleashed)", dedicado ao ex-cão de estimação do candidato presidencial do Partido Republicano, Mitt Romney, Seamus. O título refere-se ao incidente com o cachorro de Mitt Romney, ocorrido em 1983, quando Romney viajou doze horas com o cachorro em uma caixa no bagageiro do teto de seu carro. Casale também mencionou planos para lançar uma coleção de demos das sessões de Something for Everybody, com títulos em potencial como Devo Opens the Vault, Gems from the Devo Dumpster ou Something Else for Everybody . O álbum acabou sendo intitulado Something Else for Everybody e foi lançado em 20 de maio de 2014.

Em abril de 2020, Casale participou de uma longa entrevista com o podcast Protonic Reversal de Conan Neutron, discutindo muitos assuntos relacionados à banda e muito mais. Ele voltou para um acompanhamento no mês seguinte e dois anos depois.

Outros trabalhos

Em 2005, Casale anunciou seu projeto "solo", Jihad Jerry & the Evildoers (os próprios Evildoers, incluindo os outros membros do Devo) e lançou o primeiro EP, Army Girls Gone Wild em 2006. Um álbum completo, Mine Is Not a Holy War, foi lançado em 12 de setembro de 2006, após um atraso de vários meses. Apresentava principalmente material novo, além de regravações de quatro canções obscuras do Devo: "I Need a Chick" e "I Been Refused" (de Hardcore Devo: Volume Two ), "Find Out" (que apareceu no single e EP de "Peek-a-Boo!" em 1982) e "Beehive" (que foi gravada pela banda em 1974, então aparentemente abandonada com exceção de uma aparição em um show especial em 2001).

Casale dirigiu vários comerciais de televisão, incluindo anúncios para Diet Coke e Honda Scooters apresentando Devo, bem como para os restaurantes Coco's, e Miller Lite. Elementos distintivos do estilo visual de Casale incluem ângulos holandeses, cores dessaturadas e aguadas de cores nas imagens.

Embora Jihad Jerry nunca tenha feito turnê, o personagem teatral apareceu com Devo em vários shows em 2006, bem como no programa Red Eye da Fox News. Casale abandonou o personagem Jihad Jerry em 2007; Ele foi citado como tendo dito "As pessoas estão meio assustadas com as coisas do Jihad Jerry. Achei que todos iriam achar muito engraçado e se divertir, mas as pessoas estão realmente ofendidas e com medo. . . Eu acho que é isso. Eu não quero que eles tenham mais Jihad Jerry para chutar por aí!". Mais tarde, Casale vestiu o turbante Jihad Jerry para uma apresentação com o DJ e produtor Adam Freeland do Reino Unido no festival de música South by Southwest em 2009.

Casale e Mothersbaugh também produziram música para outros artistas, incluindo Toni Basil.

Em 2014, Casale fez uma participação especial em um vídeo de segurança a bordo da Delta Air Lines com tema dos anos 1980, retratando um passageiro que coloca sua bagagem de mão (uma cúpula de energia Devo) sob o assento à sua frente para se preparar para decolar.

Casale colaborou com o artista eletrônico italiano Phunk Investigation na música "It's All Devo!", Lançada como EP com seu nome verdadeiro para o Record Store Day 2016.

Equipamento
Casale tocou vários tipos de baixo para canhotos, a maioria fortemente customizados. Entre os mais característicos está um baixo em forma de lágrima, na verdade um Gibson Ripper com seus chifres serrados e um acolchoamento de braço grosso adicionado ao lado superior, como visto nos vídeos de " (I Can't Get No) Satisfaction" e "Come Back Jonee". A partir de 1982, Casale usou um baixo Steinberger série L para destros, tocado de cabeça para baixo. Ele tocou vários baixos de teclado, incluindo um EDP Wasp, um Minimoog (bem como um sintetizador customizado pela Moog Music que consistia em dois Minimoogs conectados juntos), um Roland D-50 e um Korg TR-61. A partir de 2012, Casale usou um Roland GAIA SH-01.

Vida Pessoal
Em 1970, ele era um estudante da Kent State University em Kent, Ohio, e foi testemunha dos tiroteios de 1970 no estado de Kent. Duas pessoas mortas no tiroteio, Jeffrey Miller e Allison Krause, eram amigos de Casale. Em uma entrevista de 2020, ele afirmou: "Passei por uma mudança traumática. Foi apenas uma bifurcação na estrada onde você percebe que tudo o que lhe disseram é mentira. . . Não vimos progresso. Nós vimos isso indo para trás, começamos a ficar mais tribais e mais diabolicamente mesquinhos e mais caóticos."

Casale se interessou por vinhos depois de se mudar para a Califórnia em 1978. Na década de 1990 deu aulas de degustação de vinhos por três anos durante o hiato do Devo. Em 2014, anunciou que abriria uma nova empresa de vinhos, a "50 by 50", vendendo Pinot noirs.

Casale comprou a histórica Casa Josef Kun em 2007 e passou sete anos em uma restauração meticulosa com a ajuda do preservacionista James Rega. A casa foi projetada por Richard Neutra no início dos anos 1930. Casale colocou a casa no mercado em 2015.

Em 17 de fevereiro de 2014, o irmão mais novo de Casale e colega de banda Devo, Bob Casale, morreu aos 61 anos. De acordo com Gerald, foi uma "morte súbita de condições que levaram à insuficiência cardíaca".

Em 11 de setembro de 2015, Casale se casou com Krista Napp em Santa Monica, Califórnia. Antes do casamento, o casal teria sido questionado por amigos sobre a data coincidir com o 14º aniversário dos ataques de 11 de setembro. Depois de brincar que ele e Napp eram "as Torres Gêmeas do amor", um amigo encarregado do bolo preparou uma recepção com o tema 11 de setembro sem o conhecimento deles, apresentando um bolo feito no formato das Torres Gêmeas, estiletes como lembrancinhas de festa e cartões de mesa com imagens de estiletes com "Gerald & Krista" gravados neles. Depois que o TMZ publicou uma reportagem sobre o evento em 14 de setembro e publicou fotos, Casale recebeu uma reação significativa da mídia e online. Pedindo desculpas a quem se ofendeu, Casale chamou a recepção de "surpresa" e "armação", explicando que seu amigo "achou que era uma espécie de humor doentio transgressivo, e o problema é que não tem graça".

, Casale vive em Napa, California. Em 17 de novembro de 2022, teve sua primeira filha, Inara.

Casale e os outros membros do Devo costumavam fazer parte da Igreja do SubGenius.

Trilhas sonoras

Filmografia

Videoclipes

Discografia

Devo

Solo

Ligações Externas

 Jihad Jerry/Cordless website

 Discografia

Diretores de vídeos musicais dos Estados Unidos
Baixistas dos Estados Unidos
Pessoas vivas
Nascidos em 1948

Gerald Casale


L'Amiral Mouchez était un bâtiment hydrographique de la Marine nationale française. Lancé en 1936, il servit comme aviso durant la Seconde Guerre mondiale avant de redevenir un navire hydrographique. Il fut désarmé en 1965. Il était nommé d'après Ernest Mouchez (1821-1891), amiral et astronome français.

Caractéristiques
Déplacement: 720 tonnes
Longueur: 61,95 mètres
Maître-bau: 10,60 mètres
Tirant d'eau: 3,90 mètres
Propulsion: 2 moteur diesel Sultzer de 800cv, 2 hélices
Vitesse: 13 nœuds
Comme aviso:
Équipage: 81 ou 91 hommes (suivant les sources)
Armement:
 2 canons de 100 mm
 4 canons de 20 mm
 2 mitrailleuses de 13.2 mm

Histoire
Attendu depuis plusieurs années, il faut attendre la tranche 1932 du programme de construction naval de la Marine nationale pour qu'un véritable bâtiment hydrographique soit programmé. Sa construction débute en 1934 à l'arsenal de Cherbourg. Il est conçu pour pouvoir être transformé en aviso en cas de conflit. Il est lancé en août 1936 et mis en service en février 1937. Destiné à opérer le long des côtes, il a des dimensions lui permettant de relâcher même dans de petits ports. Ses aménagements intérieurs sont confortables et il dispose d'une grande salle de dessin, appréciée des hydrographes. En 1938, il opère le long des côtes de Bretagne.

Au début de la Seconde Guerre mondiale, il devient aviso et fait des patrouilles au large du Maroc puis participe à l'évacuation des troupes de la poche de Dunkerque (opération Dynamo). Il se trouve à Casablanca au moment de l'Armistice et est alors intégré dans la flotte française d'Afrique du Nord. Il est l'un des navires du débarquement allié en Afrique du Nord en novembre 1942 (opération Torch) puis rejoint la flotte française de Dakar. En 1944, il sert aux escortes de convois en Atlantique.

À la fin de la guerre, il est, avec le Président Théodore Thissier, le seul bâtiment scientifique de la marine française ayant survécu au conflit et le seul du Service hydrographique de la marine. Mais les deux navires sont encore affectés à l'état-major de la Marine qui en besoin pour d'autres tâches opérationnelles. Ainsi, l'Amiral Mouchez sert de  bâtiment-base au port de La Pallice pour la deuxième région de dragage de mines.

C'est sa présence dans ce port qui fait que dans la nuit du 15 au , il transborde le maréchal Pétain du port de La Pallice à l'île d'Yeu lors du changement de lieu de détention de celui-ci, du fort du Portalet dans les Pyrénées au fort de Pierre-Levée. En septembre 1946, il participe au sauvetage de l'équipage du David-Caldwell, un Liberty ship échoué à l'entrée de l'estuaire de la Gironde.

Le navire sert ensuite comme bâtiment-base de la flotte des dragueurs de mines côtiers en  Méditerranée (dragueurs YMS, fournis par les États-Unis après guerre) . Puis en juillet 1947, il rejoint Brest et redevient un bâtiment hydrographique. Il refait brièvement une mission militaire en octobre et novembre 1956 lors de la crise du canal de Suez, devenant le navire amiral de la flotte de dragueurs de mines.

En 1962, la Marine nationale lance la construction de deux nouveaux bâtiments hydrographiques, Astrolabe et Boussole, les premiers depuis la construction de l'Amiral Mouchez. Ce dernier est désarmé le  et vendu pour ferraille en décembre suivant.

Notes et références

Nom de bateau
Bateau de la Marine française
Bateau lancé en 1936
Navire construit à Cherbourg-en-Cotentin
Bâtiment hydrographique
Hydrographie

Amiral Mouchez (navire hydrographique)


Rue Fujin ( et ), est une station terminus de la ligne 1 du métro de Shanghai. Elle est située dans le district de Baoshan, à Shanghai en Chine.

Situation sur le réseau

Située en aérien, Rue Fujin est la station terminus nord de la ligne 1 du métro de Shanghai. Elle est située avant la station Rue Youyi ouest, en direction du terminus sud Xinzhuang.

Elle dispose de trois lignes desservants un quai central et un quai latéral.

Histoire
La station Rue Fujin est mise en service le , lors de l'ouverture à l'exploitation du prolongement, long de  de Gongfu Xincun à Rue Fujin.

Services aux voyageurs

Accès et accueil
La station dispose de deux accès sur la rue Wenchuan, ils sont équipés d'ascenseur pour l'accessibilité des personnes à la mobilité réduite.

Desserte
Rue Fujin est desservie par les rames de la ligne 1 du métro de Shanghai. Les quais sont équipés de portes palières.

Intermodalité

À proximité

Notes et références

Voir aussi

Articles connexes
 Métro de Shanghai
 Ligne 1 du métro de Shanghai
 Liste des stations du métro de Shanghai

Liens externes
 .
 .

Station du métro de Shanghai
Station de métro mise en service en 2007

Rue Fujin (métro de Shanghai)


Levende Billeder er en dansk stumfilm fra 1912 instrueret af Eduard Schnedler-Sørensen.

Medvirkende

 Frederik Buch, Betjent Snild
 Bertel Krause
 Doris Langkilde
 Edvard Jacobsen
 Mathilde Felumb Friis
 Lauritz Olsen

Eksterne henvisninger

Kortfilm fra Danmark
Stumfilm fra Danmark
Danske film fra 1912

Levende Billeder (film)


Das Heidelberger Institut für Internationale Konfliktforschung (HIIK) ist als unabhängiger und interdisziplinärer Verein am Institut für Politische Wissenschaft der Universität Heidelberg angesiedelt. Es widmet sich der Erforschung, Dokumentation und Auswertung inner-, zwischen-, trans- und substaatlicher politischer Konflikte.

Allgemeines

HIIK e.V. - der Verein

Das HIIK ging 1991 aus dem u. a. von der Deutschen Forschungsgemeinschaft (DFG) finanziell unterstützten Forschungsprojekt KOSIMO (Konflikt-Simulations-Modell) hervor, welches von Frank R. Pfetsch (Universität Heidelberg) geleitet wurde. Seitdem engagiert sich das HIIK in der Förderung und Verbreitung des Wissens um Entstehung, Verlauf und Beilegung inner-, zwischen-, trans- und substaatlicher politischer Konflikte.

In dem jährlich erscheinenden Konfliktbarometer werden die jeweils aktuellen Forschungsergebnisse veröffentlicht. Zudem aktualisiert und pflegt das HIIK fortlaufend seine Datenbank CONTRA.

Mit zu Beginn nicht mehr als zwanzig Mitarbeitern, ist das HIIK heute auf ca. 200 überwiegend studentische Konfliktbearbeiter angewachsen. Die wissenschaftliche Expertise des HIIK wird dabei auch durch seine enge institutionelle und
personelle Anbindung an das Institut für Politische Wissenschaft der Universität Heidelberg
sichergestellt.

Konfliktbarometer
Das seit 1992 erscheinende Konfliktbarometer ist eine jährliche Analyse des globalen Konfliktgeschehens und die zentrale Publikation des HIIK. Gewaltlose und gewaltsame Krisen, Kriege, Staatsstreiche sowie Friedensverhandlungen stehen im Mittelpunkt der Untersuchung. In der Zusammenfassung des Verlaufs der weltweit stattfindenden Konflikte präsentiert das HIIK anschaulich die
Entwicklungen des jeweiligen Jahres, die graphisch und in Form von Texten erläutert werden. Das Globale Konfliktpanorama beschreibt hierbei die generelle Entwicklung. Die einzelnen Regionalteile geben sodann in
Form deskriptiver Texte einen Einblick in das Konfliktgeschehen in Asien und Ozeanien, Europa, den Amerikas, im subsaharischen Afrika sowie im Vorderen und Mittleren Orient und Maghreb.

Die Heidelberger Methodik

Methodischer Ansatz seit 2011
Bis zum Jahr 2010 wurden für die Evaluation von Konflikten maßgeblich
die erfassten Konfliktmaßnahmen und in Einzelfällen weitere Indikatoren
wie Todesopfer und Flüchtlingszahlen herangezogen. Mit der
überarbeiteten Heidelberger Methodik wird ab dem Beobachtungsjahr 2011
das konfliktwissenschaftliche Verfahren weiter ausdifferenziert und
systematisiert. So
erfolgt zum einen die Bestimmung der Intensität eines Konflikts nun
nicht mehr nur wie bisher auf der Ebene der Nationalstaaten und
Kalenderjahre, sondern auch für die einzelnen politischen Einheiten auf
subnationaler Ebene und auf der
Grundlage der Kalendermonate. Zum anderen erfolgt die Bestimmung der
Konfliktintensität nun durch eine Analyse mittels klar konzipierter
Indikatoren zur Bewertung der Mittel und Folgen des Konfliktaustrags,
die jedoch weiterhin auf dem Handeln und Kommunizieren der
Konfliktakteure basiert.

Das Basiskonzept des politischen Konflikts
Nach der Heidelberger Konfliktmethodik ist ein politischer Konflikt eine
Positionsdifferenz hinsichtlich gesamtgesellschaftlich relevanter Güter
– den Konfliktgegenständen – zwischen mindestens zwei maßgeblichen
direkt beteiligten Akteuren, die mittels beobachtbarer und aufeinander
bezogener Konfliktmaßnahmen ausgetragen wird, welche außerhalb
etablierter Regelungsverfahren liegen und eine staatliche Kernfunktion
oder die völkerrechtliche Ordnung bedrohen oder eine solche Bedrohung in
Aussicht stellen.
Die drei Elemente Konfliktakteure, Konfliktmaßnahmen und
Konfliktgegenstände bilden die konstitutiven Attribute eines politischen
Konflikts.

Konfliktintensität
Ein weiteres wesentliches Merkmal politischer Konflikte ist die
Intensität, mit der sie ausgetragen werden. Die Konfliktintensität
ergibt sich aus dem Zusammenspiel der in einem geographischen Gebiet in
einem bestimmten Zeitraum eingesetzten Konfliktmaßnahmen.
Seit 2005 verwendet das HIIK eine fünfstufige
Intensitätsskala. Die überarbeitete Methodik benennt die
Intensitätsstufen nun als Disput, gewaltlose Krise, gewaltsame Krise,
begrenzter Krieg und Krieg. Die gewaltsame Krise, der begrenzte Krieg
und der Krieg bilden zusammen die Kategorie der Gewaltkonflikte, im
Unterschied zu den gewaltfreien Konflikten (Disput und gewaltlose Krise).

Gewaltsame Konflikte entstehen sehr oft aus nicht gewaltsamen
Konflikten. Ebenso gilt, dass gewaltsame Konflikte nicht durch einen
plötzlichen Frieden beendet werden, sondern sich die Spannungen
schrittweise und mit Schwankungen abbauen. Das Konfliktbarometer verfolgt einen Konflikt, auch wenn er nicht mehr gewaltsam ausgetragen wird und prüft, ob das Ende einer gewaltsamen Auseinandersetzung tatsächlich das Ende des Konfliktes ist.
Eine Beschränkung der Untersuchungen allein auf gewaltsame Konflikte
würde den Blick auf jene Konflikte verstellen, die friedlich gelöst
wurden. Doch erst die Erfassung und Analyse jener Fälle, in denen das
Krisenmanagement den Ausbruch von Gewalt verhindern konnte,
ermöglicht einen umfassenden und verständnisvollen Blick auf die Welt
und ihre Konflikte.

Ermittlung der Konfliktintensität
Dispute sind politische Konflikte, die vollständig ohne den Einsatz
physischer Gewalt ausgetragen werden. In gewaltlosen Krisen wird mit
Gewalt gedroht oder Gewalt gegen Sachen eingesetzt, ohne dass dabei die
physische Schädigung von Personen in Kauf genommen wird.
In den drei Stufen des Gewaltkonflikts – gewaltsame Krise, begrenzter
Krieg und Krieg – wird physische Gewalt gegen Personen (und oftmals auch
gegen Sachen) eingesetzt. Während in gewaltsamen Krisen Gewalt
vergleichsweise sporadisch auftritt, ist sie in den hochgewaltsamen
Konflikten – dem begrenzten Krieg und dem Krieg – in ihrem Einsatz
massiv und in ihren Folgen gravierend.
Zur Operationalisierung der gewaltsamen Konfliktintensitäten werden
die Mittel und Folgen des Gewalteinsatzes betrachtet. In der Dimension
der Mittel werden die Art der eingesetzten Waffen sowie die Zahl des
eingesetzten Personals (z. B. Soldaten, Rebellen, Demonstranten)
betrachtet. In der Dimension der Folgen des Gewalteinsatzes ist der
Blick auf die Zahl der Todesopfer und der Flüchtlinge gerichtet
sowie auf das Ausmaß der Zerstörung.

Die Bestimmung der Konfliktintensität erfolgt für jeden Kalendermonat
und für jede subnationale Einheit (z. B. Provinz), die von dem jeweiligen
Konflikt betroffen ist. Zur Darstellung im Konfliktbarometer und zur
graphischen Veranschaulichung werden diese Angaben zu Aussagen über die
maximale Konfliktbelastung in einem Land in einem Kalenderjahr aggregiert.
Zur weiteren Präzisierung dieser aggregierten Einschätzung wird
zusätzlich die Gesamtzahl der Todesopfer und Flüchtlinge in einem Jahr
in einem Konflikt herangezogen: Gewaltsame Krisen und begrenzte Kriege
werden um jeweils ein Intensitätslevel hochgestuft, wenn ausgesprochen
viele Todesopfer oder Flüchtlinge zu beobachten waren; begrenzte Kriege
und Kriege werden um ein Intensitätslevel heruntergestuft, wenn die
Zahlen in dieser Hinsicht niedrig waren.

Reichweite

Für das Jahr 2014 wurde dem HIIK der Peter-Becker-Preis für Friedens- und Konfliktforschung zugesprochen.

Siehe auch
 Asymmetrischer Konflikt
 Friedensforschung
 Konfliktforschung
 Kriegsforschung
 Leibniz-Institut Hessische Stiftung Friedens- und Konfliktforschung (HSFK)

Weblinks
 Heidelberger Institut für Internationale Konfliktforschung e.V. (HIIK)
 Aktuelles Konfliktbarometer und Archiv seit 1992 – PDF-Downloads

Publikationen (Auswahl)
 HIIK (2019): Conflict Barometer 2018. disputes - non violent crisis - violent crisis - limited wars - wars - No. 27, Heidelberg
 Nicolas Schwank, Thomas Wencker, Christoph Trinn (2013): Der Heidelberger Ansatz der Konfliktdatenerfassung. Zeitschrift für Friedens- und Konfliktforschung 2 (1), S. 32–63
 Nicolas Schwank, Christoph Trinn (2010): Muster und Entwicklungstrends politischer Konflikte im Spiegel des Conflict Information System (CONIS) Heidelberg, in: Feichtinger, Walter / Dengg, Anton (Hrsg.): Kein Feind in Sicht. Konfliktbilder und Bedrohungen der Zukunft (Wien: Böhlau), S. 65–87.
 Aurel Croissant, Uwe Wagschal, Nicolas Schwank, Christoph Trinn (2009): Kulturelle Konflikte seit 1945. Die kulturellen Dimensionen des globalen Konfliktgeschehens (Baden-Baden: Nomos), 296 S.

Einzelnachweise

Konfliktforschung
Politikwissenschaftliches Forschungsinstitut
Verein (Heidelberg)
Gegründet 1991


Reputation este al șaselea album de studio al cântăreței Taylor Swift. A fost lansat pe data de 10 noiembrie 2017 de către Big Machine Records. Acest album a fost produs de Jack Antonoff, Max Martin, Shellback și Swift, care este și producător executiv. Alți artiști care au contribuit la acest album sunt Ed Sheeran și rapper-ul american Future.

Albumul a vândut 1,238 milioane de copii în Statele Unite ale Americii în prima săptămână după lansarea acestuia, făcându-l cel mai bine vândult album din 2017 în State. Conform International Federation of the Phonographic Industry (IFPI), este al 2-lea cel mai bine vândul album din 2017, cu vânzări de peste 4,5 milioane de copii.

Lansare
Taylor Swift a anunțat prima dată prin Instagram, pe data de 23 august 2017, că al 6-lea ei album va fi numit Reputation și că va fi lansat pe data de 10 noiembrie 2017. Primul single din album a fost "Look What You Made Me Do".

Albume de Taylor Swift

Reputation


Falling est une chanson de la chanteuse américaine de dream pop Julee Cruise. C'est le premier single et le deuxième morceau de son premier album studio,  (1989). Avec de la musique composée par Angelo Badalamenti et des paroles écrites par David Lynch, une version instrumentale de Falling est utilisée comme chanson thème pour la série télévisée Twin Peaks (1990-1991) et sa suite Twin Peaks: The Return (2017).

Twin Peaks étant devenu culte après sa diffusion originale en avril 1990, Falling est classé au palmarès musical de quinze pays entre 1990 et 1992, dont l'Australie où il atteint la place  en avril 1991. La version instrumentale de la chanson, interprétée de Badalamenti, remporte elle un Grammy Award pour la « meilleure performance instrumentale pop » à la  cérémonie des Grammy Awards.

En 2010, Pitchfork classe Falling à la  de son « Top des chansons 200 des années 1990 », tandis que New Musical Express (NME) la classe à la  des « 100 meilleures chansons des années 1990 » en 2012.

Notes et références

Chanson de pop américaine
Chanson de 1989
Single musical sorti en 1990
Single numéro un en Australie
Twin Peaks

Falling (chanson de Julee Cruise)


Lachenalia est un genre de plantes vivaces bulbeuses de la famille des Asparagacées, sous-famille des Scilloideae, que l'on trouve généralement en Namibie et en Afrique du Sud. La plupart d'entre eux ont une période de dormance, mais de nouvelles racines pousseront toujours chaque année.

Lachenalia porte le nom du botaniste suisse Werner de Lachenal (1736-1800). Les espèces sont parfois connues sous le nom de primevère du Cap, bien qu'elles ne soient pas directement liées à la véritable primevère Primula veris.

Espèce
En Décembre 2021 , the World Checklist of Selected Plant Families et POWO  acceptent les 135 espèces ci-dessous:
 Lachenalia adamii                                 G.D.Duncan
 Lachenalia alba      W.F.Barker ex G.D.Duncan
 Lachenalia algoensis Schönland
  (L.f.) Engl.
 Lachenalia ameliae W.F.Barker
 Lachenalia angelica W.F.Barker
 Lachenalia anguinea Sweet
 Lachenalia arbuthnotiae W.F.Barker
 Lachenalia arenicola                                    G.D.Duncan & Helme
 Lachenalia argillicola                                  G.D.Duncan
 Lachenalia attenuata W.F.Barker ex G.D.Duncan
 Lachenalia aurioliae G.D.Duncan
 Lachenalia bachmannii Baker
 Lachenalia barbarae                           G.D.Duncan
 Lachenalia barkeriana U.Müll.-Doblies
 Lachenalia bolusii W.F.Barker
 Lachenalia bowkeri Baker
 Lachenalia bruynsii                          G.D.Duncan
 Lachenalia buchubergensis Dinter
    (Cirillo) Engl.
 Lachenalia calcicola                        (U.Müll.-Doblies & D.Müll.-Doblies) G.D.Duncan
 Lachenalia callista                         G.D.Duncan & T.J.Edwards
 Lachenalia campanulata Baker
 Lachenalia canaliculata                    G.D.Duncan
 Lachenalia capensis W.F.Barker
 Lachenalia carnosa Baker
 Lachenalia cernua G.D.Duncan
 Lachenalia comptonii W.F.Barker
 Lachenalia concordiana Schltr. ex W.F.Barker
 Lachenalia congesta W.F.Barker
   Aiton
 Lachenalia convallarioides Baker
  (L.) J.C.Manning & Goldblatt
 Lachenalia dasybotrya Diels
 Lachenalia dehoopensis W.F.Barker
 Lachenalia doleritica G.D.Duncan
 Lachenalia duncanii W.F.Barker
 Lachenalia elegans W.F.Barker
   (Thunb.) JC Manning & Goldblatt
 Lachenalia fistulosa Baker
      Andrews
 Lachenalia framesii W.F.Barker
 Lachenalia giessii W.F.Barker
 Lachenalia glauca                 (W.F.Barker) G.D.Duncan
 Lachenalia glaucophylla W.F.Barker
 Lachenalia haarlemensis Fourc.
 Lachenalia hirta (Thunb.)  Thumb.
 Lachenalia inconspicua G.D.Duncan
 Lachenalia isopetala Jacq.

Lachenalia judithiae                       G.D.Duncan
Lachenalia juncifolia Baker
Lachenalia karooica W.F.Barker ex G.D.Duncan
Lachenalia karoopoortensis                 G.D.Duncan
Lachenalia klinghardtiana Dinter
Lachenalia kliprandensis W.F.Barker
Lachenalia krugeri                        G.D.Duncan
Lachenalia lactosa G.D.Duncan
Lachenalia latimerae W.F.Barker
Lachenalia leipoldtii G.D.Duncan
Lachenalia leomontana W.F.Barker
Lachenalia liliiflora Jacq.
Lachenalia longibracteata E.Phillips
Lachenalia longituba (A.M.van der Merwe) J.C.Manning & Goldblatt
Lachenalia lutea G.D.Duncan
Lachenalia luteola Jacq.
Lachenalia lutzeyeri G.D.Duncan
Lachenalia macgregoriorum W.F.Barker
Lachenalia magentea                            G.D.Duncan
Lachenalia margaretae W.F.Barker
Lachenalia marginata  W.F.Barker
Lachenalia marlothii  W.F.Barker ex G.D.Duncan
Lachenalia martiniae  W.F.Barker
Lachenalia martleyi                            G.D.Duncan
Lachenalia mathewsii W.F.Barker
Lachenalia maximiliani Schltr. ex W.F.Barker
Lachenalia mediana Jacq.
Lachenalia membranacea                         (W.F.Barker) G.D.Duncan
Lachenalia minima  W.F.Barker
Lachenalia moniliformis W.F.Barker
Lachenalia montana Schltr. ex W.F.Barker
Lachenalia multifolia W.F.Barker
Lachenalia mutabilis Lodd. ex Sweet
Lachenalia namaquensis W.F.Barker
Lachenalia namibiensis W.F.Barker
Lachenalia nardousbergensis G.D.Duncan
Lachenalia neilii W.F.Barker ex G.D.Duncan
Lachenalia nervosa Ker Gawl.
Lachenalia nutans G.D.Duncan
Lachenalia obscura Schltr. ex G.D.Duncan
Lachenalia orchioides (L.) Aiton
Lachenalia orthopetala Jacq.
Lachenalia pallida Aiton
Lachenalia patentissima                                  G.D.Duncan
Lachenalia patula Jacq.
Lachenalia paucifolia (W.F.Barker) J.C.Manning & Goldblatt
Lachenalia pearsonii (R.Glover) W.F.Barker
Lachenalia peersii Marloth ex W.F.Barker
Lachenalia perryae G.D.Duncan
Lachenalia physocaulos W.F.Barker
Lachenalia polyphylla Baker
Lachenalia polypodantha Schltr. ex W.F.Barker
Lachenalia punctata Jacq.
Lachenalia purpureocaerulea Jacq.
Lachenalia pusilla Jacq.
Lachenalia pygmaea                                       (Jacq.) G.D.Duncan
Lachenalia quadricolor Jacq.
Lachenalia reflexa Thunb.
Lachenalia rosea Andrews
Lachenalia salteri W.F.Barker
Lachenalia sargeantii W.F.Barker
Lachenalia schelpei W.F.Barker
Lachenalia schlechteri Baker
Lachenalia sessiliflora Andrews
Lachenalia splendida Diels
Lachenalia stayneri W.F.Barker
Lachenalia suaveolens                                          (W.F.Barker) G.D.Duncan
Lachenalia summerfieldii                                       G.D.Duncan
Lachenalia thomasiae W.F.Barker ex G.D.Duncan
Lachenalia thunbergii                                            G.D.Duncan & T.J.Edwards
Lachenalia trichophylla Baker
Lachenalia undulata Masson ex Baker
Lachenalia unifolia Jacq.
Lachenalia valeriae G.D.Duncan
Lachenalia vanzyliae                                             (W.F.Barker) G.D.Duncan & T.J.Edwards
Lachenalia variegata W.F.Barker
Lachenalia ventricosa Schltr. ex W.F.Barker
Lachenalia verticillata W.F.Barker
Lachenalia violacea Jacq.
Lachenalia viridiflora W.F.Barker
Lachenalia whitehillensis W.F.Barker
Lachenalia wrightii Baker
Lachenalia xerophila Schltr. ex G.D.Duncan
Lachenalia youngii Baker in W.H.Harvey & auct. suc. (eds.)
Lachenalia zebrina W.F.Barker
Lachenalia zeyheri Baker

En outre, Lachenalia nordenstamii WFBarker a été répertorié comme "menacé" dans la Liste rouge de l'UICN en 2006, mais en Décembre 2012  le nom n'a plus été accepté dans la liste du  « World Checklist of Selected Plant Families » (Plante non placée) .

Culture
Plusieurs espèces sont cultivées comme plantes de jardin. Les plantes suivantes ont remporté le prix du mérite du jardin de la Royal Horticultural Society .

Lachenalia 'Rupert'
Lachenalia bulbifera 'George'
Lachenalia contaminata
Lachenalia corymbosa
Lachenalia flava
Lachenalia pustulata
Lachenalia quadricolor
Lachenalia vanzyliae
Lachenalia viridiflora

Références

Bibliographie

Liens externes

 Pacific Bulb Society: Lachenalia

Genre d'Angiospermes (nom scientifique)
Asparagaceae

Lachenalia


est un western américain réalisé par William Witney, sorti en 1952. C'est un remake du film The Great Train Robbery de 1941.

Synopsis

Fiche technique
 Réalisation : William Witney
 Scénario : Arthur E. Orloff
 Producteur : Edward J. White
 Photographie : John MacBurnie
 Montage: Harold Minter
 Musique : Stanley Wilson
 Production : Republic Pictures
 Genre : Western
 Durée : 60 minutes
 Date de sortie :

Distribution
Rex Allen : Rex Allen
Koko : le cheval de Rex
Estelita Rodriguez : Lita Alvarez
Slim Pickens : Slim Pickens
Nestor Paiva : Carlos Alvarez
Roy Barcroft : Link Felton
Douglas Evans : Rodney Brewster
Joe McGuinn : Henchman Ace
Forrest Taylor : le conducteur du train

Notes et références

Liens externes

Film américain sorti en 1952
Western américain
Film américain en noir et blanc
Remake américain de film américain

South Pacific Trail


İason (Yun. Ιάσων), Yunan mitolojisinde Altın Post'u ele geçirmek için Argo isimli, elli kürekli bir gemiyle Yunan anakarasından denize açılarak Karadeniz'in doğu ucundaki Kolkhis ülkesine doğru zorlu bir yolculuğa çıkan elli kahramanın (Argonaut'lar) önderidir. Altın Post'un öyküsü ile Argonaut'ların serüvenlerini muhtelif mit yazarları anlatır. Bunların önde gelenleri Bibliotheka isimli kitabıyla Apollodoros, Argonautika isimli kitabıyla da Rodoslu Apollonius'tur.

İason'un kimliği

Söz konusu denizaşırı yolculuğun hedefi olan Altın Post, Phriksos isimli bir prensi sırtında taşıyarak Karadeniz'in en doğu ucundaki Kolkhis iline götüren, tanrı hediyesi altın tüylü bir koçun postuydu. Gittiği yerde Koç'u Zeus'a kurban eden ve postunu kutsal bir koruluktaki meşe ağacına asan Phriksos, Kolkhis kralının kızıyla evlenmiş, orada kalarak dört oğlan babası olmuştu.

Phriksos'un gidişinden bir kuşak kadar sonra doğacak olan İason ile Phriksos arasında akrabalık bağları vardı. Phriksos'un babası, Orkhomenos kralı Athamas ile İason'un dedesi, İolkos kralı Kretheus kardeştiler.

İason'un doğumu İolkos'ta yaşanan taht kavgası günlerine denk geldi. Kral Kretheus'un ölümünden sonra onun öz oğlu, tahtın yasal varisi olan Aison (İason'un gelecekteki babası) tahta çıkacakken üvey kardeşi Pelias, deniz tanrısı Poseidon'un soyundan geldiğini ve Aison'dan yaşça büyük olduğunu ileri sürerek ve zor kullanarak tahtı ele geçirdi. Biliciler Pelias'a ölümünün kral soyundan birinin elinden olacağını söylemişlerdi. Bu tanıma girenleri ortadan kaldırmaktan çekinmeyen Pelias üvey babası Aison'u öldürmeye cesaret edemediğinden onu eşiyle birlikte sarayın bir köşesinde hapis yaşamı sürmek zorunda bıraktı. Bu sığıntı yaşama başladıkları sırada Aison ve eşinin Diomedes adını verdikleri bir oğulları oldu.

Bebek doğunca kehaneti hatırlayan Pelias bebeği ortadan kaldırmak istedi. Görevlendirdiği askerler askerler bebeğin ölü doğduğu haberiyle karşılaştılar. Bu arada Aison olacakları tahmin ederek bebeği sadık bir kölesiyle kent kırsalına kaçırıp eski dostu, soylu kahramanların eğitmeni yarı insan yarı at bilge Kheiron'un gözetimine teslim etmişti. Kheiron bebeğe İason adını verdi. Pelion dağındaki mağarasında büyütüp eğittiği çocuk erişkinliğe vardığında geçmişiyle ilgili bilgiler ve geleceğe ilişkin yönlendirmelerle İolkos'a uğurladı onu.

Pelias'la karşılaşma
Bilicilerin Pelias için verdikleri diğer bir kehanete göre Pelias'ın yazgısında ölümünün tek sandaletli bir adamın elinden olacağı yazılıydı. Bu kehanetin üzerinden çok zaman geçmemişti ki İason, Kheiron'dan ayrıldıktan sonra İolkos'a giden yolda karşısına çıkan hızlı akışlı bir nehri geçmeye çalışırken sandaletlerinden birini sulara kaptırdı. Karşıya geçmeyi bekleyen yaşlı bir kadına yardım etmek için onu sırtına alıp geçirirken olmuştu bu. O yaşlı kadın aslında tanrıça Hera'ydı. İason kente vardığında Pelias'ın Poseidon ve diğer tanrılara adadığı ama Hera'nın anılmadığı bir sunu törenine katıldı. Pelias bir ayağı çıplak delikanlıyı görünce kehaneti anımsadı ve başına çöken tehlikeden kurtulmak amacıyla onu deniz yoluyla çok uzaklara, evine dönmesini olanaksız gördüğü zor bir yolculuğa göndermeye karar verdi.

Pelias'ın verdiği görev

Pelias'ın bu görevi İason'a nasıl verdiğini iki mit yazarı şöyle anlatır:

Apollodoros

Rodoslu Apollonios

Argonaut'lar, yolculuk ve dönüş

Argo isimli gemilerinden dolayı Argonaut'lar grup ismiyle anılan kahramanların İason'un önderliğinde çıktıkları Altın Post seferi başta Apollonios'un Argonautika isimli epik şiirinde olmak üzere muhtelif ozan ve yazarlar tarafından anlatılmıştır. Argonautika kahramanların yola çıktıkları limana yani Pagasai sahiline ayak basmaları ile son bulur. İason'un, yanında getirdiği Medea ile giderek karmaşıklaşan dönüş sonrası yaşamı  Euripides'in Medea isimli oyunundan ve diğer mit yazarlarından öğreniyoruz.

Yurda dönüş ve sonrası

Argo Pagasai'ye vardığında denizcileri karşılayan olmadı. İason oradaki bir balıkçıdan  anne ve babasının kral Pelias tarafından öldürüldüğünü (veya intihara zorlandıklarını) öğrenince öfkeye kapılarak hemen saraya saldırıp ölümü hak eden Pelias'ı ortadan kaldırmak istedi. Bu arada Medea öne çıktı ve Pelias'ı cezalandırma işini üstlendi. Kurnaz bir planla önce kendini yaşlı bir Artemis rahibesi görünümüne sokup sonra eski haline dönerek Pelias ve kızlarını etkisi altına aldı. Göz boyacılığını pekiştirmek için oyunlar tezgâhladı. Yaşlı bir koçu parçalayıp kaynattıktan sonra kuzuya dönüştürme hilesi yaptı. Pelias'ın kızlarını benzer bir yöntemle babalarını gençleştirebileceğine ikna etti. Gençliğine kavuşma özlemiyle Medea'ya inanan Pelias'ın sonu koçunki gibi oldu. Fakat Medea gizemli tavırları ve sözleriyle Pelias'ın kızlarını etkileyerek babalarını kesip parçalama işini onlara yaptırdı. Getirilmesini istediği Altın Post'u göremeden ölen Pelias'ın tahtı boş kalınca İason Pelias'ın tahtına geçmek yerine tahtı Pelias'ın oğlu Akastos'a bıraktı. Bazı kaynaklar Akastos'un İason ile Medea'yı kentten kovduğunu yazar.

İason Altın Postlu Koç'un Kolkhis'e doğru yola çıktığı Boeotia'ya gidip Post'u  Orkhomenos'ta Zeus tapınağına astı. Argo'yu da Korinth Boğazı'na çekip deniz tanrısı Poseidon'a adadı. Korinth kralı Kreon, İason ile Medea'yı şeref konukları olarak ağırladı. İason ile Medea on yıl boyunca Korinth'de güzel bir yaşam sürdüler. İki oğulları oldu. İolkos kralı olmayı beklerken oradan kovulurcasına ayrılmak zorunda kaldığını unutmayan İason bir sürgün gibi geldiği Korinth'deki ilk günlerinden beri Korinth krallığına göz dikmiş, amacına ulaşmak için de kız çocuk sahibi olan yaşlı kral Kreon'la çok iyi bir ilişki kurmuştu. Glauke isimli prenses yetişkinliğe eriştiğinde İason ona yaklaşmakta gecikmedi. Kreon kutsal bir seferden başarı ile dönmüş olan İason'u baştan beri el üstünde tutmuştu. Bir yabancı gibi gördüğü Medea'yı önemsemiyordu. İason'un Glauke'yle evlenme isteğine sevinçle onay verdi.

İason'un bu kararını, özellikle Kolkhis'ten ayrılırken ettiği bağlılık yeminini hiçe saymasını karanlık bir öfkeyle karşılayan Medea öç duygularına kapıldı. Kreon'un kendisini çocuklarıyla birlikte Korinth'den kovması üzerine hediye olarak gönderdiği zehirli giysilerle yeni gelinin ve Kreon'un ölmesine neden oldu. Medea'nın öç duygusu öylesine güçlüdür ki çocuklarını da kendi eliyle ölüme gönderir. Kendisini evlat katili olmakla suçlayan İason'a "Onları senden çok sevmiştim, ama senin kalbini kırmak için öldürdüm onları" der. İason'un acısını daha da koyulaştırmak için çocukların ölü bedenlerini bile ona vermez. Sonra da dedesi Helios'un gönderdiği, kanatlı iki ejderhanın çektiği arabaya binip giderken İason için biçilen yazgıyı da haykırır yüzüne: "Sen de yaptıklarına layık bir ölüme kavuşacaksın. Argo'dan bir kalas düşecek kafana; böylece evliliğimizi hiçe saymanın bedelini ödeyeceksin".

İason'un sonu Medea'nın söylediği gibi olur. Yalnız ve perişan, oradan oraya dolaşırken eski kahramanlık günlerini yadetmek için Argo'nun yanına gelir, gölgesine sığındığında başına düşen bir kalasla ölür.

Yason Burnu
Ordu'nun Perşembe ilçesinin 15 km batısında, Çaytepe köyü sınırları içinde yer alan ve güzel doğasıyla öne çıkan burun Yason Burnu diye anılır. Çeşitli yerel ve turistik tanıtım sitelerinde Altın Post söylencesiyle ilişki kurulup İason'un önderliğindeki Argonaut'ların burada mola verdikleri ve bu nedenle buraya Yason Burnu adı verildiği bilgisi yer almaktadır. Eski Yunan'da sadece Ksenophon'un "İason Burnu" ifadesini kullandığı tespit edilmiştir. Filozof, yazar ve asker Ksenophon, Pers illerine giden  Yunan paralı askerlerin komutanı olarak umduklarını bulamadan yurda dönen askerlerin zorlu yolculuklarını anlattığı Anabasis (Türkçeye Anabasis - Onbinlerin Dönüşü ismiyle çevrilmiştir) kitabında askerlerin Trapezus'tan (Trabzon) başlayıp Batı'ya doğru yaptıkları yolculuğun bir bölümünde şu anlatıma yer vermiştir:

Anılan yerlerin doğal yerleşim sırasına ve yolculuğun Sinop'tan batıya doğru ilerlediğine bakıldığında sözü geçen İason Burnu Sinop'tan çok geride kalmaktadır. Diğer bir deyişle yer sıralamasının tutarlı olabilmesi için  anlatımdaki hareket noktasının Sinop değil, İason Burnu diye tanımlanan yerden önceki, Ordu ile Trabzon arasındaki bir yer olduğu düşünülür.

Öte yandan Ksenophon'dan sonra yaşamış olan Rodoslu Apollonius, Argonaut'ların yolculuğunu en ince ayrıntılarıyla anlatırken bu yöreden geçişte sadece Genetaios Zeus burnundan söz etmiş ve Argo'nun bu burnu açıktan geçtiğini yazmıştır. Adı geçen burnun ismini burada yaşayan Genetes halkından aldığı ve Yason Burnu'nun karşı ucundaki Çam Burnu ile özdeştirilebileceği ileri sürülmektedir.

Notlar

Kaynakça

Argonotlar
Yunan mitolojisi kahramanları
Kurgusal Yunanlar
Edebiyat karakterleri

İason


Damião (em grego: Δαμιανός) (nascido: Dimitrios Georgiou Samardzis, em grego: Δημήτριος Γεωργίου Σαμαρτζής; 04 de abril de 1935, Atenas, Grécia) é um clérigo e teólogo grego, hierarca do Patriarcado de Jerusalém, Primaz da Igreja Autônoma do Monte Sinai, desde 1973, com o título de Arcebispo do Monte Sinai e Raithu.

Referências
Religiosos da Grécia
Bispos ortodoxos
Bispos da Grécia
Bispos da Igreja Ortodoxa de Jerusalém

Damião Samardzis


Teti, američki trgovački brod, čiji su ostatci kod otočića Malog Barjaka, zapadno od Komiže. Predstavlja zaštićeno kulturno dobro.

Opis dobra
Uz sjevernu stranu otočića Mali Barjak, zapadno od Komiže, nalaze se ostaci potonulog teretnog broda «Teti» koji se nasukao 1930. godine zbog greške u navigaciji. Kao parobrod izgrađen je 1883. godine u SAD. Olupina je dužine 72 m.

Zaštita
Pod oznakom Z-18 zaveden je kao nepokretno kulturno dobro - arheologija, pravna statusa zaštićena kulturnog dobra, klasificirano kao "podvodna arheološka zona/nalazište".

Izvori

Zaštićene podvodne arheološke zone i nalazišta u Splitsko-dalmatinskoj županiji
Komiža
Ostatci novovjekih brodoloma u Hrvatskoj

Ostaci brodoloma trgovačkog broda Teti


An Baloskion gracile in uska species han Liliopsida nga syahan ginhulagway ni Robert Brown, ngan ginhatag han pagkayana nga asya nga ngaran ni Barbara Gillian Briggs och Lawrence Alexander Sidney Johnson. An Baloskion gracile in nahilalakip ha genus nga Baloskion, ngan familia nga Restionaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Baloskion

Baloskion gracile


Fluberg Station (Fluberg stasjon) var en jernbanestation på Valdresbanen, der lå i bygden Fluberg i Søndre Land kommune i Norge.

Stationen åbnede 28. november 1902, da den første del af banen mellem Eina og Dokka blev taget i brug. Den blev nedgraderet til holdeplads 7. januar 1968 og til trinbræt 10. juni 1968. Persontrafikken på banen blev indstillet 1. januar 1989.

Stationsbygningen blev opført til åbningen i 1902. Den blev solgt fra i 1995.

Litteratur

Eksterne henvisninger

 Jernbane.net om Fluberg Station

Noter

Stationer på Valdresbanen
Nedlagte jernbanestationer i Norge
Etableret i 1902
Ophørt i 1989

Fluberg Station


The Eagle Has Landed es el primer álbum en vivo de la banda británica de heavy metal Saxon, publicado en 1982 por Carrere Records. Su grabación se llevó a cabo durante los años 1981 y 1982, en distintas ciudades de Europa. De acuerdo con la revista Melody Maker se considera como uno de los mejores discos en vivo de la década de los ochenta. Tras su lanzamiento obtuvo el quinto puesto en la lista UK Albums Chart, permaneciendo en ella diecinueve semanas consecutivas. Además, en el mismo año fue certificado con disco de plata en el Reino Unido, tras superar las 60 000 copias vendidas.

En 2006 el sello EMI Music lo remasterizó con seis pistas adicionales en vivo, grabadas entre 1981 y 1982 en el recinto Hammersmith Odeon de Londres.

Lista de canciones

Todas las canciones escritas por la banda Saxon:

Miembros

 Biff Byford: voz
 Graham Oliver: guitarra eléctrica
 Paul Quinn: guitarra eléctrica
 Steve Dawson: bajo
 Nigel Glockler: batería

Referencias

Álbumes de Saxon
Álbumes en vivo de 1982
Álbumes de heavy metal
Álbumes de Carrere Records
Álbumes en inglés
Álbumes certificados de plata por la British Phonographic Industry

The Eagle Has Landed (álbum)


Die Yarwun-Aluminiumoxid-Raffinerie liegt zehn Kilometer nordwestlich von Gladstone, einer Hafenstadt im australischen Queensland. Die Raffinerie befindet sich zu 100 Prozent im Eigentum der Rio Tinto Alcan, einer 100-prozentigen Tochter des weltweit aktiven Bergwerkskonzerns Rio Tinto.

In ihr wird nach dem Bayer-Verfahren aus Bauxit reines Aluminiumoxid gewonnen.

Raffineriebetrieb
Die Baukosten der Raffinerie betrugen 1,5 Milliarden Australische Dollar und sie nahm im März 2004 ihre Produktion mit einer jährlichen Leistung von 1,4 Millionen Tonnen Aluminiumoxid auf. In der Raffinerie waren 2009 550 Personen beschäftigt. Das Bauxit, das zur Herstellung von Aluminiumoxid verwendet wird, kommt von der Weipa-Bauxitmine per Schiff zur Anlage.

2012 wurden 2,18 Mio. t Aluminiumoxid produziert, während die Anzahl der Beschäftigten bei 735 lag. Die Kapazität soll auf 3,4 Mio. t ausgebaut werden.

Siehe auch
 Liste von Aluminiumoxid-Fabriken
 Bauxitbergbau in Australien

Weblinks
 Die Yarwun-Aluminiumraffinerie bei Australian Aluminium Council Ltd. (engl.), abgerufen am 6. Januar 2014

Einzelnachweise

Aluminiumoxidhersteller
Rio Tinto Group
Produzierendes Unternehmen (Queensland)

Yarwun-Aluminiumoxidraffinerie


KunstTeatar kazališna je udruga koja postoji od 2018. godine te vodi istoimeni kazališni prostor. Osnovali su je producentica Romana Brajša, glumac Domagoj Janković i redatelj Ivan Planinić s ciljem stvaranja novog prostora za generacijski bliske autore a u svrhu razvoja neinstitucionalne suvremene umjetnosti i kulture, pogotovo izvedbenih umjetnosti. Prostorije kazališta nalaze se na zagrebačkoj Trešnjevci, na uglu Okićke i Dubovačke ulice.

Povijest

Svojevrsni okidač za nastanak kazališta bila je ispitna predstava Doviđenja djeco iz kolegija Inovativna režija mentora Branka Brezovca, a u režiji Ivana Planinića. To je prva predstava igrana u budućem prostoru KunstTeatra, te se od tada radilo na preuređenju kako bi prostor bio namijenjen izvođenju. Prva predstava nakon osnivanja bila je Dobar, loš, mrtav po motivima teksta Pavla Vrkljana u režiji Ivana Planinića premijerno izvedena 2018. godine.

Prva velika hit predstava bila je predstava Flex autora Ivana Penovića praizvedena 2019. godine. Predstava je do danas rasprodana danima prije same izvedbe. Među gledanije predstave treba uvrstiti i predstave Dobar loš, mrtav, Bilo bi šteta da biljke krepaju i Sloboština Barbie.

Programski najčešće režiraju Ivan Penović i Ivan Planinić, no tijekom godina u KunstTeatru radio je niz suvremenih kazališnih redatelja mlađe generacije kao što su Natalija Manojlović, Judita Gamulin, Aleksandar Švabić... Mnogi dramski pisci ili dramaturzi kao što su Ivor Martinić, Nikolina Rafaj, Jasna Žmak i Ivana Vuković svoje prve režije ostvarili su upravo u KunstTeatru.

KunstTeatar posebno je zainteresiran za suvremene dramske pisce pa su tako praizvedbe svojih drama imali autori kao što su Dino Pešut, Espi Tomičić i Lucija Klarić.

Glumci koji su se generacijski formirali kroz igru u više predstava KunstTeatra su Domagoj Janković, Pavle Vrkljan, Matija Čigir, Karlo Mrkša i Bernard Tomić.

Uz igranje predstava iz vlastite produkcije u prostoru KunstTeatra gostuju i predstave drugih kazališnih organizacija. Najčešće koproduciraju s organizacijama poput Punctuma, KUFER-a, T25, TRAS studija, a surađuju i s Teatrom Verdi, Kućom Klajn, P4, Art radionicom Lazareti, Savezom pisaca i scenarista izvedbenih djela SPID-om, udrugom BoliMe, Goethe-Institutom, Ludens teatrom, Boom!teatrom, te brojnim drugim domaćim i stranim samostalnim umjetnicima.

Popis predstava

2015. Doviđenja djeco (Nikolina Bogdanović, Ivan Planinić), režija: Ivan Planinić
izvode: Hrvojka Begović, Domagoj Janković, Sven Jakir

2018. Dobar, loš, mrtav (Nikolina Bogdanović, Ivan Penović, Luka Vlašić i Ivana Vuković prema motivima drame Pavla Vrkljana) režija: Ivan Planinić (u koprodukciji s KUFER)
izvode: Matija Čigir, Domagoj Janković, Nikša Marinović, Pavle Vrkljan

2019. Flex, režija: Ivan Penović (u koprodukciji s Punctum)
igraju: Karlo Mrkša, Domagoj Janković, Bernard Tomić, Pavle Vrkljan
na videoprojekcijima: Matija Čigir

2019. Marta i sedam strahova (Ivana Vuković), režija: Natalija Manojlović (u koprodukciji s KUFER)
izvode: Andreja Jandrić, Matija Čigir
na videoprojekcijama: Jerko Marčić, Sreten Mokrović, Adrian Pezdirc, Alma Prica, Anđela Ramljak, Damir Šaban, Petar Vrbanić Đula.

2019. Smrt u diskoteci, režija: Aleksandar Švabić (u koprodukciji s KUFER)
izvode: Domagoj Janković, Nataša Kopeč

2019. Bilo bi šteta da biljke krepaju (Ivor Martinić) (u koprodukciji s TeatruM i T25)
izvode: Maja Posavec, Pavle Vrkljan i Ivor Martinić

2019. Tri mušketira (po motivima Alexandrea Dumasa), režija: Ivan Planinić (u koprodukciji s TRAS studio)
izvode: Petra Chelfi, Ivana Pavlović, Martina Tomić
glas u off-u: Domagoj Janković

2020. Memorija (svijeta) je puna (Nikolina Rafaj) (u koprodukciji s KUFER)
izvode: Lucija Dujmović, Iva Visković i Paško Vukasović

2021. Vic o Sizifu (Ivan Planinić), režija: Ivan Planinić (u koprodukciji s Punctum)
izvodi: Karlo Mrkša

2021. Granatiranje (Dino Pešut), režija: Judita Gamulin (u koprodukciji s KUFER)
izvode: Marin Klišmanić, Luka Knez i Iva Kraljević

2021. Ti si prvi hrabar (Espi Tomičić), režija: Ivan Penović (u koprodukciji s Punctum)
izvode: Pavle Matuško, Toma Medvešek i Bernard Tomić

2022. Dobar, loš, mrtav 2: pakao (Pavle Vrkljan) režija: Ivan Planinić (u koprodukciji s KUFER)
izvode: Matija Čigir, Domagoj Janković, Pavle Vrkljan
na videoprojekcijama: Iskra Jirsak, Nikša Marinović.

2022. Sloboština Barbie (Maša Kolanović), režija: Natalija Manojlović (u koprodukciji s Punctum)
izvode: Maja Kovač, Amanda Prenkaj i Damir Klemenić

2022. Jackpot (Ivor Martinić), režija: Ivor Martinić (u koprodukciji s T25)
izvode: Sanja Milardović, Iva Jerković i Silvio Vovk
na videoprojekcijima: Ksenija Marinković

2022. 35 kvadrata ili Nigdjezemska (Lucija Klarić), režija: Ivan Planinić (u koprodukciji s KUFER)
izvode: Iskra Jirsak, Iva Kraljević, Tin Rožman, Bernard Tomić i Pavle Vrkljan

2023. this is my truth, tell me yours (Jasna Žmak), režija: Jasna Žmak (u suradnji s Centar za dramsku umjetnost, Via Negativa i Društvo Mesto žensk, Ljubljana)
izvodi: Jasna Jasna Žmak

2023. Možeš biti sve što želiš (Ivana Vuković), režija: Ivana Vuković (u koprodukciji s Punctum i T25)
izvode: Lana Meniga i Nikolina Prkačin

Nagrade

2019. Nagrada hrvatskog glumišta za izniman doprinos kazališnoj umjetnosti ansamblu i autorskom timu predstave Flex.

Izvori

Hrvatske kazališne kuće i trupe
Kultura u Zagrebu

KunstTeatar