Leon Bakst (1866-1924) besuchte von 1883 bis 1886 die kaiserliche Kunstakademie in St. Petersburg und begann seine Kuuml;nstlerkarriere als Illustrator fuuml;r Zeitschriften. Er setzte sein Studium zunauml;chst in Paris an der Acadeacute;mie Julianfort; kehrte aber 1896nach St. Petersburg zuruuml;ck und erlangte dort vor allem aufgrund seiner Portraits einen gewissen Bekanntheitsgrad. Zwei Jahre danach gruuml;ndete Bakst gemeinsam mit Alexander Benois (1870-1960) und Serge Diaghilev (1872-129) die Gruppe Welt der Kunst(Mir Iskusstva). Nach der Jahrhundertwende debuuml;tierte er in St. Petersburgmit seinem Buuml;hnenbild fuuml;r die Eremitageund das Alexandrinsky Theater. Ab 1906 gab er Zeichenunterrichtan der Kunstschule Yelizaveta Zvantseva; an der auch Marc Chagall (1887-1985) studierte.Bakst ging 1908 erneut nach Paris; gruuml;ndete dort mit Sergei Diaghilev dieBallets Russesund wurde 1911 deren kuuml;nstlerischer Direktor. Seine exotischen Kreationen des Orientalismus beeinflussten fuuml;r viele Jahre die Mode und die Innenarchitektur. Besonders bemerkenswert sind seine Kostuuml;me fuuml;r Diaghilevs Sheacute;heacute;razade (1910) und LApres-midi dun Faune(1912). Bakst lieszlig; sich 1912; nachdem er wegen seiner juuml;dischen Herkunft aus der Heimat verbannt wurde;in Paris nieder. Er starb dort am 27. Dezember 1924.
#1834798 in eBooks 2014-01-07 2014-01-07File Name: B00IODLKQS
Review
2 of 2 people found the following review helpful. A practical book that no one doing new play development should be without!By T. A. FisherI loved Browns previous book; "The Art of Active Dramaturgy"; and love this one even more!In addition to establishing clear and practical suggestions; questions; strategies; and theories (although I am loathe to call this work "theoretical" lest a reader mistake my meaning -- this is very much a practical-based book with solid theory built on Browns years of experience and education) in the first part of the book; Brown helps the reader visualize and plan an effective play development process in the second part of the book.In the books third act; she provides a series of exercises that one can use to teach future dramaturgs and other theatre professionals planning to work in new play development how to develop the needed skills to do active new play development and to become active dramaturgs; active writers; active directors; etc.She ends the book with a thoughtful and insightful series of conversations about a variety of issues still very much of concern in the theatre world as well as in new play development.I cannot recommend this book strongly enough. I know Ill be introducing this work to my production and creative teams as well as talking it up every chance I get!While I may not agree with every point Brown makes (and you should be suspicious of my review if I did) and wish she had referenced my book on post-show discussions in new play development in her talk-back chapter; those little quibbles are far overwhelmed by the strength of Browns overall message; experience; and practice-based strategies. As I get ready to read over 40 script submissions for an upcoming development season; I look forward to using some of these strategies to help make stronger decisions and ask better questions.
