Myths and Realities of Contemporary French Theater: Comparative Views ed. by Patricia M. Hopkins, Wendell M. Aycock, and: An International Dictionary of Theatre Language ed. by Joel Trapido, Edward A. Langhans, James R. Brandon

1987 ◽  
Vol 21 (1) ◽  
pp. 89-91
Author(s):  
Felicia Hardison Londré
Keyword(s):  
French Theater ◽  
International Dictionary

scholarly journals The International Dictionary of Physics and Electronics

Physics Today ◽  
1956 ◽  
Vol 9 (12) ◽  
pp. 28-29 ◽  
Author(s):  
W. C. Michels ◽  
Ira M. Freeman
Keyword(s):  
International Dictionary

Pirandello and the French Theater

1960 ◽  
Vol 12 (2) ◽  
pp. 184
Author(s):  
William Wallace ◽  
Thomas Bishop
Keyword(s):  
French Theater

Italian and French Theater

Books Abroad ◽  
1967 ◽  
Vol 41 (4) ◽  
pp. 398
Author(s):  
Beatrice Corrigan ◽  
Paul A. Mankin ◽  
Bettina L. Knapp
Keyword(s):  
French Theater

scholarly journals The Ballet “Les Noces de Pelée et de Thetis” (1653) Preserved in Visual Images

ICONI ◽  
2021 ◽  
pp. 75-89
Author(s):  
Anna P. Grutsynova ◽  
Keyword(s):  
17Th Century ◽  
Musical Performance ◽  
Visual Images ◽  
Visual Impression ◽  
French Theater ◽  
Italian Opera ◽  
Time Period ◽  
Art Works

The article is devoted to the ballet “Les Noces de Pelée et de Thetis” which was produced in 1693 in the Petit Bourbon Palace in Paris (according to the rules of the French theater of that time period) in order to complement the opera with the same name composed by Carlo Caproli. The basis for the plot of the production was the myth widely disseminated in art works about the mortal Peleus and the Nereid Thetis, transformed in correspondence with the aesthetics of that time. The Dance entrées followed each scene of the Italian opera and were connected with its each content, in its turn, forming a consistent, logically delineated narration. The published libretto conveys the plot, and at times the outer form of the action quite vividly and fi guratively. A description of the decorations and machines used in the ballet has also been preserved, as the result of which in our time it becomes possible to create a visual impression from the production. In addition, important defi ning details capable of providing a perception not only of the protagonists’ outward appearances, but also of a concrete distribution of roles between the performers are the sketches for numerous costumes preserved up to our time. Thereby, it turns out that in 17th century musical performance a considerable role is played by its visual solution, which, having been preserved in iconographic materials, is capable of helping create an impression from the overall conception of the production a few centuries after it happened.

Obese-Writing

PEDIATRICS ◽  
1979 ◽  
Vol 64 (5) ◽  
pp. 698-699
Author(s):  
L. Leo Leonidas
Keyword(s):  
Commercial Products ◽  
World Book ◽  
Tetanus Vaccine ◽  
International Dictionary

I enjoyed reading the article "Diphtheria-pertussis-tetanus vaccine: Reactogenicity of commercial products" (Pediatrics 64:256, 1979) and found it useful in explaining to the parents the expected reactions from DPT. However, I have a comment on the word REACTOGENICITY. I can't find it in my Dictionary (World Book Dictionary, 1971) and in our library's Websters 3rd New International Dictionary (1971). Reactogenicity was used five times in the report. If I am right, reactogenicity was used to mean reactions, adverse obviously, from DPT.

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